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Federation University Historical Collection
Photograph - Little Gem tintype, Portrait of a Woman in a Hat
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography -
Federation University Historical Collection
Photograph - Little Gem tintype, Portrait of a Woman in a hat
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography -
Federation University Historical Collection
Photograph - Little Gem tintype, American Studio, Portrait of a Woman, (exact)
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph -
Federation University Historical Collection
Photograph - Tintype, Portrait of two young girls
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .2) A tintype portrait of two girls heads, attached to a card. The girls are wearing a cloak with a large bow at the frontlittle gem, women, children, photography, tintype -
Flagstaff Hill Maritime Museum and Village
Decorative object - Wall Decoration, 1850 to 1901
This item is part of the Giles Collection, dating back to the late Victorian era, from the 1880s to the early 1900s, in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hangings that enjoyed the height of their popularity during the Victorian era were of the spiritual type with either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, enamelled or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society. The Giles Family There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as a family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940.The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established. This wall decoration reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. Printed card wall hanging with floral design. Religious text on the sign is embossed onto the card and highlighted in silver print. There is a handwritten ink inscription, and a pencil inscription, on the back. A string is attached to two holes on top of the card. Embossed"THE BLESSING / OF THE LORD/ BE UPON YOU." "PS 129.8." In pencil "H/S" In ink "To dear Granny with lots of love / from Dorothy. X X."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, paper wall decoration, religious, home decoration, societal values, victorian moral values, wall hanging, wall decoration, spiritual decoration, bible verse, giles collection -
Flagstaff Hill Maritime Museum and Village
Container - Ink Bottle, 1890s to 1902
This design of ink bottle or ink well was commonly referred to as a ‘penny ink well’ because it was very inexpensive to produce. It is also known as a dwarf bottle. It was recovered from the wreck of the 1895-1902 ship Inverlochy and is part of the John Chance Collection. Pen and ink has been in use for hand writing from about the seventh century up until the mid-20th century. Up until around the mid-19th century a quill pen made from a bird’s feather was used. In the 1850s the steel point pen was invented and could be manufactured on machines in large quantities. In the 1880s a successful portable fountain pen was designed, giving a smooth flowing ink and ease of use. Ink wells, used with steel nib dip pens, were commonly used up until the mid-20th century. The pens only held a small amount of ink so users had to frequently dip the nib of the pen into an ink well for more ink. Hand writing with pen and ink left wet writing on the paper, so blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased, ready to use, or in the powdered form, which needed to be mixed with water. After the invention of fountain pens, which had a reservoir of ink, and then ballpoint pens, which also had ink that flowed freely, the dip pen was slowly replaced. However, artisans continue to use nib pens to create beautiful calligraphy. INVERLOCHY 1895-1902 - The Inverlochy was a steel sailing barque built in Scotland in 1895 for international trade. In 1902 the Inverlochy left Liverpool under the command of Captain E.R. Kendrick. There were 21 officers and crew and the captain’s wife Mrs Kendrick, on board, bound for Australia with cargo that included tools, chemicals, liquor (beer, whisky, stout, rum, and brandy), steel, iron, wire netting, hoop iron, tinplate and pig iron), and steel wire for the Melbourne Tramway Company, tiles, soap, soft goods and earthenware. On December 18 almost at their destination, the Inverlochy ran aground on Ingoldsby Reef at Point Addis, near Anglesea. The crew and passengers left the ship via lifeboat and landed at Thompson’s Creek, then walked about 20 kilometres to Barwon Heads. Salvagers were interested in the 10 miles of cable in the hold. Mrs Kendrick’s ‘high grade’ bicycle was amongst the items salvaged but she lost her jewellery and two pianos. By February 1903 the ship had broken up and objects such as bottles and casks of liquor were washed ashore. Bad weather shook the wreck in June 1903, causing the ship’s spars and figurehead to be washed ashore. This ink bottle is historically significant as it represents methods of hand written communication that were still common up until the mid-20th century, when fountain pens and ballpoint pens took over in popularity and convenience. The Ink bottle also has significant as it was recovered by John Chance, a diver from the wreck of the Inverlochy in the late 1960s to early 1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. This Ink bottle is significant because of its historical connection to the barque Inverlochy, which is an example of a commercial international steel sailing barque and is listed on the Victorian Heritage Database VHR S338. The Inverlochy is significant for its cargo, which is a snapshot of the kind of goods imported into Australia at the turn of the 19th century, including cable for the Melbourne Tramway Company. The wreck of the Inverlochy is important as an accessible dive site that shows the remains of a large international trading vessel and its contents. It is valuable for an insight into Victorian era of shipping and maritime history. Ink bottle, glazed, prange-brown ceramic cylinder, ring of clay on top for lip, narrow mouth, very short neck on wide shoulder that reaches out to edge of of straight-sided body, flat base. On the shoulder, close to the neck, are concentric lines in the clay. There are dark areas around the lip and mouth opening. The clay appears to have a fold line on its body. The material has flecks of darker material in it. Sediment around shoulder. Handmade. Also called a Penny Ink Well.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, inverlochy, scotland, captain e.r. kendrick, melbourne tramway company, tramway cable, ingoldsby reef, point addis, anglesea, thompson’s creek, barwon heads, ink bottle, writing equipment, writing accessory, office equipment, stationery, domestic, stoneware, clay, ceramic, pottery, ink well, inkwell, penny ink well, nib pen, dip pen, ink, hand writing, record keeping, household, business, vintage, blotting paper, dwarf ink -
Flagstaff Hill Maritime Museum and Village
Container - Ink Bottle, 1890s to 1902
This design of ink bottle or ink well was commonly referred to as a ‘penny ink well’ because it was very inexpensive to produce. It is also known as a dwarf ink bottle. It was recovered from the wreck of the 1895-1902 ship Inverlochy and is part of the John Chance Collection. Pen and ink has been in use for hand writing from about the seventh century up until the mid-20th century. Up until around the mid-19th century a quill pen made from a bird’s feather was used. In the 1850s the steel point pen was invented and could be manufactured on machines in large quantities. In the 1880s a successful portable fountain pen was designed, giving a smooth flowing ink and ease of use. Ink wells, used with steel nib dip pens, were commonly used up until the mid-20th century. The pens only held a small amount of ink so users had to frequently dip the nib of the pen into an ink well for more ink. Hand writing with pen and ink left wet writing on the paper, so blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased, ready to use, or in the powdered form, which needed to be mixed with water. After the invention of fountain pens, which had a reservoir of ink, and then ballpoint pens, which also had ink that flowed freely, the dip pen was slowly replaced. However, artisans continue to use nib pens to create beautiful calligraphy. INVERLOCHY 1895-1902 - The Inverlochy was a steel sailing barque built in Scotland in 1895 for international trade. In 1902 the Inverlochy left Liverpool under the command of Captain E.R. Kendrick. There were 21 officers and crew and the captain’s wife Mrs Kendrick, on board, bound for Australia with cargo that included tools, chemicals, liquor (beer, whisky, stout, rum, and brandy), steel, iron, wire netting, hoop iron, tinplate and pig iron), and steel wire for the Melbourne Tramway Company, tiles, soap, soft goods and earthenware. On December 18 almost at their destination, the Inverlochy ran aground on Ingoldsby Reef at Point Addis, near Anglesea. The crew and passengers left the ship via lifeboat and landed at Thompson’s Creek, then walked about 20 kilometres to Barwon Heads. Salvagers were interested in the 10 miles of cable in the hold. Mrs Kendrick’s ‘high grade’ bicycle was amongst the items salvaged but she lost her jewellery and two pianos. By February 1903 the ship had broken up and objects such as bottles and casks of liquor were washed ashore. Bad weather shook the wreck in June 1903, causing the ship’s spars and figurehead to be washed ashore. This ink bottle is historically significant as it represents methods of hand written communication that were still common up until the mid-20th century, when fountain pens and ballpoint pens took over in popularity and convenience. The Ink bottle also has significant as it was recovered by John Chance, a diver from the wreck of the Inverlochy in the late 1960s to early 1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. This Ink bottle is significant because of its historical connection to the barque Inverlochy, which is an example of a commercial international steel sailing barque and is listed on the Victorian Heritage Database VHR S338. The Inverlochy is significant for its cargo, which is a snapshot of the kind of goods imported into Australia at the turn of the 19th century, including cable for the Melbourne Tramway Company. The wreck of the Inverlochy is important as an accessible dive site that shows the remains of a large international trading vessel and its contents. It is valuable for an insight into Victorian era of shipping and maritime history.Ink bottle or ink well; cylindrical shaped, salt-glazed, mid-brown ceramic bottle. It has a small round mouth, rounded lip that extend past the short neck, wide shoulders, straight sides, flat bottom. Handmade. Also called a Penny Ink Well.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, inverlochy, scotland, captain e.r. kendrick, melbourne tramway company, tramway cable, ingoldsby reef, point addis, anglesea, thompson’s creek, barwon heads, ink bottle, writing equipment, writing accessory, office equipment, stationery, domestic, stoneware, clay, ceramic, pottery, ink well, inkwell, penny ink well, nib pen, dip pen, ink, hand writing, record keeping, household, business, vintage, blotting paper, dwarf ink -
Flagstaff Hill Maritime Museum and Village
Postcard - Historical, Warrnambool, Christ Church, Warrnambool, Early 20th century
The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Christ Church Warrnambool – The image on this card shows Christ Church, a stone building built in 1856. The Anglican church is in Henna Street, Warrnambool. The church, outer buildings and grounds are heritage-listed. Its bell tower harbours German bells. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Christ Church Warrnambool is significant for its connection to the church. The early building of the church in 1856, within the first decade of Warrnambool being proclaimed a town, shows the strong religious desire of the community. The church is part of Warrnambool's life events and the historical significance of the building,Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is of the Interior of the church chapel, with exposed timber beams, white arches decorated with flowers, pews with books on shelves, and organ pipes. There is text on the image. The title is in red print on the front of the card. The back has inscriptions and outlines for a postage stamp. There is no correspondence written on the card. Jordan Series, printed in Great Britain.Front, in red: “CHRIST CHURCH, WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here” Text on the arch: "THE LORD OF HOSTS"flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, christ church, bell tower, german bells, warrnambool church, religious building, stone building, anglican church, parish of warrnambool, arch pillars -
Flagstaff Hill Maritime Museum and Village
Postcard - Historical, Warrnambool, Christ Church, Warrnambool, Early 20th century
The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Christ Church Warrnambool – The image on this card shows Christ Church, a stone building built in 1856. The Anglican church is in Henna Street, Warrnambool. The church, outer buildings and grounds are heritage-listed. Its bell tower harbours German bells. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Christ Church Warrnambool is significant for its connection to the church. The early building of the church in 1856, within the first decade of Warrnambool being proclaimed a town, shows the strong religious desire of the community. The church is part of Warrnambool's life events and the historical significance of the building,Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is a stone castle-top bell tower beside a church building flanked by trees. A stone fence is across the front, with pedestrian and vehicle white picket gates. The title is in red print on the front of the card. There is no correspondence written on the card. The reverse has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “CHRIST CHURCH, WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, christ church, bell tower, german bells, warrnambool church, religious building, stone building, anglican church, parish of warrnambool -
Flagstaff Hill Maritime Museum and Village
Postcard - Historical, Warrnambool, Ozone hotel, Warrnambool, 1902-1929
The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Ozone Hotel, Warrnambool – Construction of Warrnambool’s Ozone Hotel and Coffee Palace on the corner of Koroit and Kepler streets began in 1890. The luxury venue included ballrooms, dining rooms, a theatre and a tower. In 1929 it burnt to the ground in a spectacular fire. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This postcard of the Ozone Hotel and Coffee Palace is significant for its connection to the Victorian-era hotel. The hotel was a luxury facility that attracted visitors to the town by sea, rail and road. The postcard also represents the short period in which the hotel operated and the notable, unforgettable event of its burning to the ground. Out of the set of nine postcards in this donation, this card is the only one that includes the location of Warrnambool on the back. It is also the only one with text within the outline for the postage stamp and with headings in this font. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is of a grand three-storey building on a street corner with a tall turret, shorter turrets, and arches on the verandas. The back has inscriptions and outlines for a postage stamp. There is no correspondence written on the card. Jordan Series, printed in Great Britain.Front, in red: “Ozone hotel, Warrnambool” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, ozone hotel and coffee palace, ozone hotel, warrnambool hotel, destroyed by fire, coffee palace -
Flagstaff Hill Maritime Museum and Village
Postcard - Scenic, Warrnambool, Titan Bridge, Shelly Beach, Warrnambool, 1902-1929
The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Titan Bridge, Warrnambool – The name Titan Bridge is likely to be a reference to the huge Titan crane that was used in the construction of the Breakwater in the late 19th century. Shelly Beach is a popular swimming area with the added attraction of rock pools to investigate and rock formations to climb. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.The image of the Titan Bridge rock formation with figures on it suggests that the location was a popular place to visit. It captures a time when the rock formation was publically accessible. The choice of subject for this postcard indicates the popularity of Warrnambool's natural environment as a tourist attraction at a time when ships called coastal traders brought passengers and cargo to the Port of Warrnambool from ports along Victoria's southwest coast. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image shows two figures, one seated and one standing, beside the sea on a rough rock beside a rock formation resembling a bridge. There is no correspondence written on the card. The back has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “TITAN BRIDGE / SHELLY BEACH, NEAR WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, shelly beach, titan bridge, titan, rock formation -
Flagstaff Hill Maritime Museum and Village
Postcard - Scenic, Warrnambool, Bay of Biscay, Hopkins River, Warrnambool, 1902-1910
The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Bay of Biscay, Hopkins River, Warrnambool – This same image was published in Table Talk on January 6th, 1910 and in The Age, on December 18, 1929, referred to a revival of fishing at the Bay of Biscay on the Hopkins River. These and similar articles showcased the Bay of Biscay as a popular boating and fishing location and well worth promoting to places outside of Warrnambool. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.The image of the figures in a row boat on the river suggests that the location was a popular place to visit. The choice of subject for this postcard indicates the popularity of Warrnambool's natural environment as a tourist attraction at a time when ships called coastal traders brought passengers and cargo to the Port of Warrnambool from ports along Victoria's southwest coast. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, portrait orientation, coloured print within a rectangle border with an impressed line around the image and a title in red. The picture shows three figures wearing hats in a rowboat on the bank of a river beside cliffs. There is no correspondence written on the card. The back has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “Bay of Biscay, Hopkins River, Warrnambool” Back in green: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, bay of biscay, fishing, boating -
Federation University Historical Collection
Photograph - Photograph - Little Gem tintype, American Studio, Portrait of a Woman
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card. Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat"ballarat, american studio, little gem, allen gove, tintype, woman, unidentified woman, photography -
Federation University Historical Collection
Photograph - Photograph - Little Gem tintype, Possibly American Studio, Portrait of a child
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a child, attached to a card. little gem, child, hat -
Federation University Historical Collection
Photograph - Photo - Little Gem tintype, Possibly American Studio, Portrait of a child
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .5) A tintype portrait of a child, attached to a card. little gem, photography, child, portrait -
Kew Historical Society Inc
Plaque, Kew City Hall : Opened by The Hon H.E. Bolte M.L.A. Premier of Victoria 23rd April 1960 : Cr H.H. Ferguson J.P. Mayor, 1960
The Municipality of Kew was proclaimed on 19 December 1860, then upgraded to a Borough (1863), a Town (1910) and finally a City (1921). From 1865, its offices were based in the former Athenaeum Hall in Walpole Street, which, although extended in 1883, inevitably became inadequate. Plans for a new purpose-built Town Hall were first mooted in the late 1880s, but fell prey to six subsequent decades of debate. During that time, many sites were considered and rejected, and several schemes prepared. Finally, in 1945, it was resolved to build a new civic centre as a war memorial. The council acquired Southesk, a mansion on the south-west corner of Cotham Road and Charles Street – first mooted as a possible Town Hall site two decades earlier – and plans for a civic precinct were drawn up by John Scarborough. The project stalled until 1957, when a Town Hall Committee was formed and a new architect appointed: Harold Bartlett of Leith & Bartlett. He also proposed an entire civic precinct, of which a large public hall would constitute Stage One. Designed to accommodate almost any public or official function, the space had had a small stage at one end for intimate theatrical productions, a larger stage at the other (with operable sunken orchestra pit) for musical performances, plus the most up-to-date equipment for live TV transmission. The building, befitting its original intent as a war memorial, was also to include a sculpted monument, for which a separate design competition was held. First prize went to George H Allen (1900-1972), long-time head of the Sculpture Department at RMIT and a former war artist himself (the only one, in fact, to have worked in the medium of sculpture). At the time of the Kew project, Allen was best known for his Cenotaph at the Shrine of Remembrance (1955) and a controversial abstract sculpture at Hume House in William Street (1957). Tenders for the new hall were called and the contract (worth £104,986) was awarded to H F Yuncken. The foundation stone was laid by the Mayor, Cr F C O'Brien, on 1 June 1959. Completion (initially scheduled for October) was delayed by the unavailability of certain materials; it was barely finished in time for the official opening (by Premier Henry Bolte) on 23 April 1960. The war memorial was unveiled two days later (Anzac Day) by Bolte's deputy, the Hon A G Rylah. Fittingly, that year also marked Kew's municipal centenary, and many celebratory events were held in and around the new civic centre in December, including a special council meeting (attended by the Prime Minister), a tree planting ceremony and a youth ball. Source: Survey of Built Heritage in Victoria: Stage Two (Built Heritage Pty Ltd., 2010)Plaque commemorating the opening of a new town hall in KewMetal plaque recording the official opening of the Kew City Hall, 23rd April 1960. This plaque was given to the Kew Historical Society in 1991 by the former City of Kew.Kew City Hall / Opened by / The Hon. H.E. Bolte M.L.A. / Premier of Victoria / 23rd April 1960 / Cr. H.G. Ferguson J.P. - Mayor.kew city hall, foundation stones - kew (vic), sir henry bolte, local government -- kew (vic.) -
Kew Historical Society Inc
Plaque, A Special Meeting of the Kew City Council Was Held in This Hall on 13th December 1960 to Commemorate the Centenary of Kew : Cr. W.H.S. Dickinson M.B.E., J.P. Mayor, 1960
The Municipality of Kew was proclaimed on 19 December 1860, then upgraded to a Borough (1863), a Town (1910) and finally a City (1921). From 1865, its offices were based in the former Athenaeum Hall in Walpole Street, which, although extended in 1883, inevitably became inadequate. Plans for a new purpose-built Town Hall were first mooted in the late 1880s, but fell prey to six subsequent decades of debate. During that time, many sites were considered and rejected, and several schemes prepared. Finally, in 1945, it was resolved to build a new civic centre as a war memorial. The council acquired Southesk, a mansion on the south-west corner of Cotham Road and Charles Street – first mooted as a possible Town Hall site two decades earlier – and plans for a civic precinct were drawn up by John Scarborough. The project stalled until 1957, when a Town Hall Committee was formed and a new architect appointed: Harold Bartlett of Leith & Bartlett. He also proposed an entire civic precinct, of which a large public hall would constitute Stage One. Designed to accommodate almost any public or official function, the space had had a small stage at one end for intimate theatrical productions, a larger stage at the other (with operable sunken orchestra pit) for musical performances, plus the most up-to-date equipment for live TV transmission. The building, befitting its original intent as a war memorial, was also to include a sculpted monument, for which a separate design competition was held. First prize went to George H Allen (1900-1972), long-time head of the Sculpture Department at RMIT and a former war artist himself (the only one, in fact, to have worked in the medium of sculpture). At the time of the Kew project, Allen was best known for his Cenotaph at the Shrine of Remembrance (1955) and a controversial abstract sculpture at Hume House in William Street (1957). Tenders for the new hall were called and the contract (worth £104,986) was awarded to H F Yuncken. The foundation stone was laid by the Mayor, Cr F C O'Brien, on 1 June 1959. Completion (initially scheduled for October) was delayed by the unavailability of certain materials; it was barely finished in time for the official opening (by Premier Henry Bolte) on 23 April 1960. The war memorial was unveiled two days later (Anzac Day) by Bolte's deputy, the Hon A G Rylah. Fittingly, that year also marked Kew's municipal centenary, and many celebratory events were held in and around the new civic centre in December, including a special council meeting (attended by the Prime Minister), a tree planting ceremony and a youth ball. Source: Survey of Built Heritage in Victoria: Stage Two (Built Heritage Pty Ltd., 2010)Historically significant commemorative plaqueMetal plaque relating to special Council meeting to mark centenary of Kew, 13th December 1960. This plaque was given to the Kew Historical Society in 1991 by the former City of Kew.A Special Meeting Of The / Kew City Council Was Held In / This Hall On 13th December 1960 / To Commemorate / The Centenary of Kew / Cr. W.H.S. Dickinson, M.B.E., J.P., / Mayorkew city hall, foundation stones - kew (vic), cr. w.h.s. dickinson, local government -- kew (vic.) -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Bottle, Dundas Pottery, Late 1800s to early 1900s
This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a specialty of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide. This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle, salt glazed stoneware, beige, sealed with wax, discolouration above base. Inscriptions stamped near base. Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line] flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, john chance, antique bottle, william johnstone -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Bottle, Dundas Pottery, Late 1800s to early 1900s
This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a speciality of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide. This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, sealed with wax, some discolouration above base. Inscription stamped near base..Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Bottle, Dundas Pottery, Late 1800s to early 1900s
This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a speciality of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide.This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, part sealed with wax and cork, very little discolouration. Inscriptions stamped near base.Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Bottle, Dundas Pottery, Late 1800s to early 1900s
This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a specialty of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide.This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, sealed with cork, no discolouration . Inscriptions stamped near base.Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Bottle, Dundas Pottery, Late 1800s to early 1900s
This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a specialty of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide.This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, large chip on lip of bottle. Inscription stamped near base.Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone, pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone -
Flagstaff Hill Maritime Museum and Village
Ceramic - Stoneware Bottle, Dundas Pottery, Late 1800s to early 1900s
This bottle was made in Scotland and recovered decades later from a shipwreck along the coast of Victoria. It may have been amongst the ship's cargo, its provisions or amongst a passenger's personal luggage. It is now part of the John Chance collection. Stoneware bottles similar to this one were in common use during the mid-to-late 19th century. They were used to store and transport. The bottles were handmade using either a potter's wheel or in moulds such as a plaster mould, which gave the bottles uniformity in size and shape. The bottle would then be fired and glazed in a hot kiln. Makers often identified their bottles with the impression of a small symbol or adding a colour to the mouth. The manufacturer usually stamped their bottles with their name and logo, and sometimes a message that the bottle remained their property and should be returned to them. The bottles could then be cleaned and refilled. DUNDAS POTTERY WORKS - The Dundas Pottery works were established in 1828 by William Johnstone in partnership with John Forsyth and John Mc Coll. Located where the Forth and Clyde Canal joined the Monkland Canal, North of Glasgow. Johnstone sold the pottery in 1835 to Robert Cochran and James Couper. Mc Coll was retained as manager until 1837 when in 1839 Cochran & Couper sold the pottery and purchased the St Rollex Glass Works. George Duncan took over briefly but died in 1841, with the pottery possibly being run by his widow Helen and a potter named Alexander Paul. James Miller was the manager at the time and he bought the pottery in 1856, in partnership with John Moody. Miller's long and careful stewardship of the pottery saw success from the export market which allowed him to purchase the North British pottery in 1867 until 1874 when it was sold. In 1875, Miller, in partnership with John Young, leased part of Caledonian Pottery, naming it Crown Pottery, however, it burned down in 1879. In the early 1880s, Young extended the pottery and named it Milton Pottery. Miller’s son, James W., became a partner in Milton pottery in 1905. James Miller Snr died in 1905 and the company continued as a limited liability company, being sold to the Borax Consolidation Ltd in 1929, but it was unsuccessful and Possil pottery purchased some of the company's equipment before it finally closed in 1932. From 1828 until the James Miller period of circa 1856, the pottery produced salt-glazed stoneware for the local industrial trade; mainly bottles and drain pipes. James Miller produced various bottles, whisky and acid jars, casks, butter crocks, jam jars and domestic wares in Bristol glaze. He streamlined the water filter manufacturing, which had become a speciality of the pottery, and a dedicated section of the pottery was created solely for their production, which was exported worldwide.This stoneware bottle is historically significant for its manufacture and use in the late 19th to the early 20th century. This bottle is historically significant for its connection with the well-known stoneware manufacturers, Dundas Pottery of Glasgow, Scotland. The bottle is also significant as it was recovered by John Chance, a diver, from a wreck on the coast of Victoria in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, salt glazed stoneware, beige, sealed with cork and wax, discolouration on upper part. Inscription stamped near base.Stamp: [symbol of concentric ovals], text within the symbol "PORT DUNDAS POTTERY COY." and "GLASGOW". Stamp:[Symbol - square with short vertical line in centre of base line]flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, shipwreck artefact, stoneware, ironstone pottery, bottle, port dundas pottery, glasgow, antique bottle, william johnstone -
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, 820 Main Road, Eltham, 2 Aug. 2022
In 1855 the first post office opened in Eltham under the management of Thomas Hunniford. It was a weatherboard building located on the eastern side of Main Road just south of Bridge Street. During the 1880s under the managment of Hunniford's daughter, Anne, the building was modernised with a new awning and upper facade. In late 1925 a new brick building was erected immediately next door (820 Main Road). Following the death of Anne Hunniford in December 1928, J.N Burgoyne was appointed Postmaster. The extension to the right of the store was erected in 1939 for a new telephone exchange adjacent to the store and post office. A continuous telephone service operated by Mr Burgoyne and his family commenced operation 18 November 1939. Approximately 70 extensions were routed through the new exchange, 40 of which were transferred from the Greensborough Exchange. Entry to the exchange was via a separate door on Main Road or via the shop. The public telephone was initially mounted on the wall but later moved to the street. The present store is a barber shop and it remains, though heavily modified, one of only three remaining shop fronts from the early 1900s in Eltham. Comparison photo: SEPP_0700, 00140, SEPP_0701, SEPP_0702 Part of a presentation by Peter Pidgeon to the Society, 13 August 2022 showcasing a series of photographs taken by John Henry Clark over the period 1895 to 1930. John Henry Clark was the youngest of three boys born to William Henry Clark (1823-1877) and Maria White (1843-1914). He and his brothers, William Charles Clark (1872-1945), Clement Kent Clark (1874-1912) operated a photography business (Clark Bros.) from 25 Thomas Street, Windsor near Prahran during the period c.1894 to 1914. Following death of Clement in September 1912 and their mother in 1914, the Clark Bros business appears to have dissolved, the premises demolished, and a new house was under construction in 1915. John set up business independently in 1914 operating out of 29 Moor Street, Fitzroy where he is registered in the 1914 and 1915 Electoral Rolls. By 1916 John had relocated to Eltham where he continued his practice as a photographer and took many of the early images around the district of Little Eltham. Around 1930 John changed professions and opened a small cobbler's shop in 1931 near the pond opposite Dalton Street adjacent to the Jarrold family cottage. He never married and continued his profession as a bootmaker from this little shop, maintaining a close relationship with Mrs Jarrold for the rest of their lives. His bootmaker shop remains today beside the Whitecloud cottage and is one of only three remaining shops in the area from the early 20th century.Comparative photo taken 2022 with one taken from same location over 100 years earlier by noted local photographer J.H. ClarkBorn Digitaleltham, j.h. clark photo (2022), main road, 820 main road, burgoyne store -
Ruyton Girls' School
Photograph, Ruyton Girls' School, 1950
Depicted are 13 students comprising the the 1950 Ruyton Girls' School hockey team. The photograph is an official school portrait taken outdoors on a patch of grass with a leafy bush visible in the background. The students are all dressed in light coloured shorts with a collared, buttoned blouse, wool blazers, white socks and white sneakers. Five girls are kneeling in the front row, and seven are standing up in the back row. All of the students are holding their own hockey stick. The idea of field hockey for female players was brought to Victoria by two sisters, Lillian and Margaret Irving, who had first seen girls playing it during their travels in England in 1902. By 1903, the Irving sisters were joint headmistresses of Lauriston, a school they had founded two years earlier. Both had deep connections to Ruyton Girls' School through their time as teachers at the older school during the 1880s-1890s. For Lilian Irving, this had included seven years as Ruyton's co-Principal with Miss Eliza Bromby from 1888-1895. With these links it was only natural that Ruyton students would join Lauriston to try out the new game. On a vacant block on the corner of Mercer and Malvern Roads, students from Ruyton and Lauriston Girls' Schools had assembled to play Victoria’s first ever inter-school hockey match for girls. Some students from Melbourne Girls' Grammar School came along to watch the spectacle and assess the new game's potential. Hockey quickly caught on, and friendly games were soon being played amongst a number of Melbourne's girls' schools. An Association was formed in 1905, and the rules formalised. These included arrangements around the competition fixture and the length of games (35 minutes for each half). In celebration of their joint role in bringing field hockey to Victorian school girls, Ruyton and Lauriston have met for friendly re-enactment matches in 2003 and 2018. The photograph also illustrates the shift in hockey uniform and apparatus. In the early 1920s, Ruyton established instructions for playing attire: "skirts must be eight inches off the ground. No white petticoats...", and importantly, least any team get an unfair advantage, "hard-rimmed hats and hatpins must not be worn during play." Ruyton appears to have taken the latter instruction to heart, and adopted the soft tam o’shanter hat as seen in surviving photographs of early teams. The tam o’shanter may have been removed for play, but the blouse and long skirt had to be put up with. According to Lilian Irving they had "a horrid habit of parting company", and she was delighted to see the transition to a more comfortable tunic in later years. Another change she observed was the hockey stick itself, which originally were all of "uniform thickness from handle to head, about the thickness of a stout walking stick" and so very different from the hockey sticks that are used today.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photographs printed on matte photographic paper.Reverse: Ruyton Hockey Team 1950. / 17 Cole / From left to right standing. / Helen Cole. / Left to right kneeling. /ruyton girls' school, kew, victoria, tennis, sport, women's sport, students, school, 1950s, uniform, lauriston, hockey, field hockey, hockey stick -
Ruyton Girls' School
Photograph, Ruyton Girls' School, 1952
Depicted are 14 students comprising the the 1952 Ruyton Girls' School hockey team. The photograph is an official school portrait taken outdoors on a patch of grass with a leafy bush visible in the background. The students are all dressed in light coloured shorts with a collared, buttoned blouse, wool blazers, white socks and white sneakers. Six girls are kneeling in the front row, and eight are standing up in the back row. All of the students are holding their own hockey stick. The idea of field hockey for female players was brought to Victoria by two sisters, Lillian and Margaret Irving, who had first seen girls playing it during their travels in England in 1902. By 1903, the Irving sisters were joint headmistresses of Lauriston, a school they had founded two years earlier. Both had deep connections to Ruyton Girls' School through their time as teachers at the older school during the 1880s-1890s. For Lilian Irving, this had included seven years as Ruyton's co-Principal with Miss Eliza Bromby from 1888-1895. With these links it was only natural that Ruyton students would join Lauriston to try out the new game. On a vacant block on the corner of Mercer and Malvern Roads, students from Ruyton and Lauriston Girls' Schools had assembled to play Victoria’s first ever inter-school hockey match for girls. Some students from Melbourne Girls' Grammar School came along to watch the spectacle and assess the new game's potential. Hockey quickly caught on, and friendly games were soon being played amongst a number of Melbourne's girls' schools. An Association was formed in 1905, and the rules formalised. These included arrangements around the competition fixture and the length of games (35 minutes for each half). In celebration of their joint role in bringing field hockey to Victorian school girls, Ruyton and Lauriston have met for friendly re-enactment matches in 2003 and 2018. The photograph also illustrates the shift in hockey uniform and apparatus. In the early 1920s, Ruyton established instructions for playing attire: "skirts must be eight inches off the ground. No white petticoats...", and importantly, least any team get an unfair advantage, "hard-rimmed hats and hatpins must not be worn during play." Ruyton appears to have taken the latter instruction to heart, and adopted the soft tam o’shanter hat as seen in surviving photographs of early teams. The tam o’shanter may have been removed for play, but the blouse and long skirt had to be put up with. According to Lilian Irving they had "a horrid habit of parting company", and she was delighted to see the transition to a more comfortable tunic in later years. Another change she observed was the hockey stick itself, which originally were all of "uniform thickness from handle to head, about the thickness of a stout walking stick" and so very different from the hockey sticks that are used today.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photographs printed on matte photographic paper.Reverse: gton / Margaret Hanesho (?) / Helen Gordon / 1952 / Mary Macpherson-Smith /ruyton girls' school, kew, victoria, tennis, sport, women's sport, students, school, 1950s, uniform, lauriston, hockey, field hockey, hockey stick -
Ruyton Girls' School
Photograph, Ruyton Girls' School, 1951
The photograph depicts 12 young women students who were part of the 1951 Ruyton Girls' School hockey team. The students are all dressed in light coloured shorts with a collared, buttoned blouse, wool blazers, white socks and white sneakers. Three girls are kneeling in the front row, and nine are standing up in the back row. All of the students are holding their own hockey stick. The photograph was taken on School grounds, next to a pond which is no longer in existence at Ruyton. The idea of field hockey for female players was brought to Victoria by two sisters, Lillian and Margaret Irving, who had first seen girls playing it during their travels in England in 1902. By 1903, the Irving sisters were joint headmistresses of Lauriston, a school they had founded two years earlier. Both had deep connections to Ruyton Girls' School through their time as teachers at the older school during the 1880s-1890s. For Lilian Irving, this had included seven years as Ruyton's co-Principal with Miss Eliza Bromby from 1888-1895. With these links it was only natural that Ruyton students would join Lauriston to try out the new game. On a vacant block on the corner of Mercer and Malvern Roads, students from Ruyton and Lauriston Girls' Schools had assembled to play Victoria’s first ever inter-school hockey match for girls. Some students from Melbourne Girls' Grammar School came along to watch the spectacle and assess the new game's potential. Hockey quickly caught on, and friendly games were soon being played amongst a number of Melbourne's girls' schools. An Association was formed in 1905, and the rules formalised. These included arrangements around the competition fixture and the length of games (35 minutes for each half). In celebration of their joint role in bringing field hockey to Victorian school girls, Ruyton and Lauriston have met for friendly re-enactment matches in 2003 and 2018. The photograph also illustrates the shift in hockey uniform and apparatus. In the early 1920s, Ruyton established instructions for playing attire: "skirts must be eight inches off the ground. No white petticoats...", and importantly, least any team get an unfair advantage, "hard-rimmed hats and hatpins must not be worn during play." Ruyton appears to have taken the latter instruction to heart, and adopted the soft tam o’shanter hat as seen in surviving photographs of early teams. The tam o’shanter may have been removed for play, but the blouse and long skirt had to be put up with. According to Lilian Irving they had "a horrid habit of parting company", and she was delighted to see the transition to a more comfortable tunic in later years. Another change she observed was the hockey stick itself, which originally were all of "uniform thickness from handle to head, about the thickness of a stout walking stick" and so very different from the hockey sticks that are used today.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photograph printed on matte photographic paper.Reverse: Felicity Jacobs / Ann Dickinson / RGS011/1951/0002 /ruyton girls' school, ruyton, hockey, sport, school sport, field hockey, kew, melbourne, girls school, students, school uniform -
Flagstaff Hill Maritime Museum and Village
Vehicle - Furphy Water Cart, J. Furphy & Sons, c. 1942
This horse-drawn, two-wheeled cart with a tank, is known as a Furphy Farm Water Cart that was made in Shepparton, northern Victoria, c. 1942. John Furphy (1842-1920) was born in Moonee Ponds, in 1842 to Irish immigrant parents and subsequently raised in the Yarra Valley before the family moved to Kyneton in central Victoria, where he completed an apprenticeship with the firm Hutcheson and Walker. Murphy began operations of his own at a site on Piper Street in Kyneton in 1864. He relocated for a business opportunity and founded the first blacksmiths and wheelwrights shop in the newly surveyed town of Shepparton in 1873. Furphy invented many farming tools and machines including a patented grain-stripper, and won awards at the 1888-89 Melbourne International Exhibition. His most famous invention is the Furphy Farm Water Cart, designed in the 1880s, at a time when water for most households and farms was carted on wagons in wooden barrels. The Furphy’s water cart is a single item that combines a water metal tank and a cart. The design of the cart was simple yet effective, and became popular very quickly and established itself as a vital piece of farming equipment. The water cart has had a number of words cast into its ends over many years. References to the foundry’s location in Shepparton, as well as advertising of other products also manufactured by J. Furphy & Sons were present on the ends. However, the most significant set of words to feature on the tank, was a poem encouraging continual improvement: ‘Good Better Best, Never Let it Rest, Until your Good is Better, And your Better Best’. During The Great War (1914-1918), the water cart was used by the Australian militarily at a large AIF (Australian Imperial Force) camp in Broadmeadows (Melbourne) where thousands of men were camped for months, before being transported aboard. Furphy Water Carts provided water to the troops, and were usually placed near the camp latrines, which was one of the few places the troops could share gossip and tall tales away from the prying eyes and ears of their officers. The water cart drivers were also notorious sources of information, despite most of their news being hearsay, or totally unreliable. By the time the men of the AIF were in engaged in combat on the Gallipoli Peninsula and the Western Front, the carts used for water supply had no markings and became simply referred to as Furphys. This owed as much to the coining of the term ‘Furphy’, Australian slang for suspect information or rumour. After a number of decades as principally a soldier’s word, 'Furphy' entered the broader Australian vernacular and was used mainly by the political class until recently when the term was taken up by a Australian brewer as a beer brand. This Furphy Water Cart was purchased by Friends of Flagstaff Hill in 2014. The support of local individuals, organisations and businesses enabled its restoration and later its installation alongside the existing late-19th century water pipe stand and 1940s hand pump The Furphy Farm Water Cart is of historical significance as it represents a famous Australian time-saving and energy-saving invention of the 1880s, replacing the labour intensive activity of collecting and dispensing water from barrels and casks on the back of carts. The water cart’s connection with manufacturing companies J. Furphy & Sons and Furphy Foundry are significant for being early Australian businesses that are still in operation today. Furphy carts are of military significance for the role they played during The Great War (1914-1918) in Australian army camps, and theatres of war in Europe and the Middle East, to supply the AIF troops with fresh water. A wooden framed, two-wheeled, horse-drawn cart, fitted with a horizontally mounted, cylindrical metal tank. The tank is made of rolled, sheet steel with a riveted seam, and cast iron ends with cast iron ends. The spoked metal wheels have fitted flat iron tyres and metal hubs. A metal pipe is joined to the outlet. The tank is silver coloured, the ends, wheels and trims are crimson, and the script lettering on tank sides is black. There are inscriptions on the tank, ends, and hubs. The water tank was made in 1942 in Shepparton, Australia, by J. Furphy & Sons and has a capacity of 180 gallons (848 litres). Hub perimeter, embossed “J. FURPHY & SONS” “KEEP THE / BOLTS TIGHT” Hub centre embossed [indecipherable] Tank, each side, painted “J. FURPHY & SONS / Makers / SHEPPARTON” Tank ends, embossed – “FURPHY’S FARM WATER CART” “BORN ABOUT 1880 – STILL ‘GOING STRONG’ 1942” “j. FURPHY & SONS / MAKERS / SHEPPARTON - VIC “ “S - - - - - L MANUFACTURERS” [SPECIAL] “SPIKE ROLLERS” “SINGLE TREES” “PLOUGH WHEELS” “IRON CASTINGS” “LAND GRADERS” “STEEL DELVERS” “CAST IRON PIG” “CHAIN YOKES” “GOOD – BETTER – BEST / NEVER LET IT REST / TILL YOUR GOOD IS BETTER / AND YOUR BETTER – BEST” Image [Stork carrying a baby] above shorthand, transcribed "Produce and populate or perish" Image [Furphy Pig Feeder] beside ‘Cast Iron Pig’ Shorthand, transcribed “"Water is the gift of God but beer and whiskey are concoctions of the Devil, come and have a drink of water"warrnambool, flagstaff hill maritime museum, water cart, furphy cart, furphy tank, furphy farm water cart, furphy, john furphy, john furphy & sons, furphy foundry, kyneton, shepparton, mobile water tank, jinker, hutchinson & walker, blacksmith, farm equipment, implement maker, tool maker, horse drawn, stork and baby, good, better, best, barrel, tank, first world war, wwi, eastern front, gallipoli, j furphy & sons -
Flagstaff Hill Maritime Museum and Village
Equipment - Stevenson Screen, Thomas Stevenson, ca. 1910
Stevenson screens were first introduced in Australia in the 1880s and were widely installed by 1910. The screens have been used to shelter and protect thermometers and other meteorological instruments from rain and direct heat while the holes and double-louvre walls allowed air to flow around them. Sometimes other meteorological instruments were included in the weather stations, so there were different Stevenson Screen sizes. This authentic, original Stevenson screen was previously owned by the Australian Bureau of Meteorology and was used for many years for weather readings at the Cape Otway Light Station in southwest Victoria. The Lighthouse Keepers recorded the readings for minimum and maximum temperatures at 9 a.m. every day from January 1865 until April 1994. The equipment was sheltered in a Stevenson Screen from 1902 until April 15 1994, when the mercury thermometer was replaced by a platinum resistance probe within an Automatic Weather Station (AWS). This Stevenson screen is one of the two screens that then became redundant. The other Stevenson screen was kept to display to visitors. Lightkeepers were no longer required at the Cape Otway Light station either, due to the automated system. The meteorological instruments donated with the screen were used for measuring temperature and humidity. They are mounted on a metal bracket that fits across the screw holes on the screen’s internal frame. The glass-covered Relative Humidity (RH) sensor was made by the renowned precision instrument maker, Rotronic AG of Switzerland, which was founded in 1965. The firm made its first electronic temperature and humidity instrument in 1967. Meteorological records have been collected in Australia from the 1800s. The records were collated, published and used as a basis for weather forecasts. Many sectors, such as maritime and agriculture industries, have relied on these figures for making important decisions. The quality and placement of the meteorological instruments used to measure temperature and humidity are of utmost importance for accuracy. In early colonial times, there were no national standards for meteorological instruments that would allow for accurate figures and comparisons. Once the Bureau of Meteorology was established (around 1908 to 1910) the department installed Stevenson screens throughout Australia, many at lighthouses and light stations, and the measuring instruments were standardised. The Stevenson Screen was named after its inventor, Scottish Civil Engineer Thomas Stevenson (1818-1887) who was also the father of Robert Louis Stevenson, author. Stevenson developed the small thermometer screen around 1867. It had double-louvred walls around the sides and a top of two asbestos sheets with an air space between them and was thickly painted with a white coating that reflected the sun’s rays. This design was modified in 1884 by Edward Mawley of the Royal Meteorological Society. Standards were set for the locations of the screens and instruments, including their distance above ground level and the direction the door faced.Stevenson screens played a significant part in providing a standardised shelter for all meteorological instruments used by the Australian Bureau of Meteorology from about 1910 until 1994. The readings from the instruments gave the meteorological statistics on which weather forecasts throughout Australia were based. This Stevenson screen was used locally at Cape Otway, along the Great Ocean Road in southwest Victoria, so contributed towards our local forecasts and weather warnings.Stevenson screen, original, from the Australian Bureau of Meteorology’s weather station at the Cape Otway Lighthouse. The screen is a white wooden cupboard with a slanted cover raised above the top. The top has ten drilled ventilation holes, and the sides and door are made of downward-slanting double louvres. Two brass hinges join the door to the lower edge of the screen and a metal fitting at the top edge allows for a padlock closure. The screen is supported on four short legs, each with a hole drilled from side to side for fitting to a frame. Inside the screen are two wooden frames fitted with hooks and screws. The floor has three boards; one across the back and one across the front at the same level, and a board wider than the space between these boards is fitted higher, overlapping them slightly. Inside the screen, a pair of electronic instruments with short electric cables is mounted on a metal bracket with drilled holes in it. One of the instruments is a Relative Humidity (RH) probe. It is 26 cm long and is a glass tube with a filter on one end and an electrical connection on the other. It has inscriptions on its label, showing that was made by Rotronic AG, Switzerland. The other instrument is a Resistance Temperature Device (RTD) thermometer. It is 22.5 cm long and has a narrow metal probe joined to a hexagonal metal fitting. A brass plate on the front of the screen has impressed inscriptions. The screen is Serial Number 01/C0032, Catalogue Number 235862.Stamped into brass plate "CAT. NO. / 253862 / SERIAL NO. 01/C0032" On instrument’s electrical fitting; “CD2” [within oval ‘+’ above S] “Serie693 op65 / 220/380V~16A” On instrument’s glass; “rotronic ag” “SWISS MADE” “CE / CH-8303 / Bassersdorf” Symbol for [BARCODE] “ART NO MP 101A_T4-W4W” “POWER 4.8.30VDC“ “OP. RANGE: 0-100%RH/-40+60° C” “OUT H 0-100% 0-1V” “OUT T -40+60°C -0.4..+0.6V” “SERIE NO 19522 009”flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cotton region shelter, instrument shelter, thermometer shelter, thermoscreen, thermometer screen, measuring instruments, meteorological instrument, weather recording, weather station, lighthouse equipment, light station equipment, stevenson screen, marine instruments, mercury thermometer, platinum resistance probe, aws, automatic weather station, rotronic ag, swiss made, meteorological device, weather forecast, weather prediction, weather records, meteorological forecast, meteorological record, australian bureau of meteorology, bureau of meteorology, bureau, bom, relative humidity, rh, relative humidity probe, resistance temperature device, rtd, thermometer, temperature, humidity, cape otway, cape otway lighthouse, cape otway light station, rotronic, switzerland, swiss instrument, thomas stevenson, double-louvered walls, edward mawley, royal meteorological society, 01/c0032, serial number, cat. no. 235862, serial no. 01/c00323 -
Flagstaff Hill Maritime Museum and Village
Photograph - Coastal Scene, Joseph Jordan Photographic Studio, Lady Bay and Breakwater, Warrnambool, circa 1907
The Port of Warrnambool - In the early years the Port of Warrnambool was a busy port. Steamships and sailing ships were frequent visitors to the port. Steam navigation companies were plentiful, carrying passengers and freighting cargo such as coal, timber, food, livestock, furniture, hardware and haberdashery between Melbourne and the ports along the southwest coast of Victoria, including Warrnambool. The carts would take their loads into the township for distribution. The Breakwater was built (using 32 ton blocks of concrete) between 1874 and 1890 to provide ships with greater protection from the Southern Ocean. The Lifeboat and Rocket House - The coastline of South West Victoria has had over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built to house it, followed in 1864 by a rocket house to safely store the Rocket Rescue equipment. In 1878 the buildings were moved to the Breakwater area, and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost one hundred years the lifeboat and rocket crews, mostly local volunteers, trained regularly to maintain and improve their skills, summoned when needed by alarms, gunshots, ringing bells and foghorns. Some became local heroes but all served an important role. By the end of the 1950s the lifeboat and rescue equipment had become obsolete. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid 1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque "Fiji" at "Wrecks Beach" near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This photograph is significant for its association with the Port of Warrnambool and the Warrnambool Breakwater as it shows a point in time when shipping activities were an important part of Warrnambool's commerce and social development. It is also a record of the Warrnambool Lifeboat and Rocket house which was important in aiding ordinary citizens, harbour employees and the volunteer boat and rescue crew in saving the lives of sailors and passengers due to the high number of shipwrecks that occurred along the coastline. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. Sepia photograph showing the beach and the Breakwater in Lady Bay Warrnambool, two ships (a steamship and a barque), a small sailboat, and the Lifeboat and Rocket House plus two smaller sheds.Front of photo - BREAKWATER, WARRNAMBOOL, VICTORIA Back of photo - "From: P Gregory / 365 Beach Road / BLACK ROCK 3193"flagstaff hill, flagstaff hill maritime museum, warrnambool, warrnambool harbour, port of warrnambool, tramway jetty, breakwater, lifeboat and rocket shed, steamship, barque, photograph of lady bay, rocket house, shipping, joseph jordan, lady bay, views of warrnambool, jordan photography