In April 1928 the MMBW had the land and the plans for what they were to construct but the timing of the actual building did not proceed as planned. Before the construction could commence the Great Depression of the 1930s intervened forcing the shelving of its plans. The new owners then offered the land for lease resulting in Frederick Werrett taking the opportunity to take up the land he formerly owned to continue his market gardening activities of growing potatoes, onions and other crops. The land and improvements made by Syme were leased in 1929 to Harry Telford a trainer from New South Wales. Phar Lap grazed there for a short time. [9] However the population of Melbourne continued to grow and the need for a sewerage treatment plant did not go away. In 1939 when the effects of the Depression had dissipated work on the Sewerage Effluent Treatment Plant commenced and the following year in October the Premier of the State, Albert Dunstan, officially commissioned it. The Sewerage Effluent Treatment Plant at Braeside served the communities of south-east Melbourne for thirty five years until 1975. In that year all the sewers that entered the Braeside plant were diverted to the South Eastern Trunk Sewer complex at Carrum.[10] In 1982 the chairman of the MMBW at that time, Alan Croxford, announced that a substantial part of the property at Braeside would be administered by the Parks and Gardens section of MMBW as a public park. Subsequently the responsibilities were transferred to Parks Victoria, the situation that exists today. It is known as “Braeside Park” now. [Source: Sewerage Treatment Plant at Braeside, Kingston Local History, https://localhistory.kingston.vic.gov.au/articles/407]alan gardiner collection, 1939, braeside sewage treatment plant, construction, melbourne metropolitan board of works, mmbw

In April 1928 the MMBW had the land and the plans for what they were to construct but the timing of the actual building did not proceed as planned. Before the construction could commence the Great Depression of the 1930s intervened forcing the shelving of its plans. The new owners then offered the land for lease resulting in Frederick Werrett taking the opportunity to take up the land he formerly owned to continue his market gardening activities of growing potatoes, onions and other crops. The land and improvements made by Syme were leased in 1929 to Harry Telford a trainer from New South Wales. Phar Lap grazed there for a short time. [9] However the population of Melbourne continued to grow and the need for a sewerage treatment plant did not go away. In 1939 when the effects of the Depression had dissipated work on the Sewerage Effluent Treatment Plant commenced and the following year in October the Premier of the State, Albert Dunstan, officially commissioned it. The Sewerage Effluent Treatment Plant at Braeside served the communities of south-east Melbourne for thirty five years until 1975. In that year all the sewers that entered the Braeside plant were diverted to the South Eastern Trunk Sewer complex at Carrum.[10] In 1982 the chairman of the MMBW at that time, Alan Croxford, announced that a substantial part of the property at Braeside would be administered by the Parks and Gardens section of MMBW as a public park. Subsequently the responsibilities were transferred to Parks Victoria, the situation that exists today. It is known as “Braeside Park” now. [Source: Sewerage Treatment Plant at Braeside, Kingston Local History, https://localhistory.kingston.vic.gov.au/articles/407]alan gardiner collection, 1939, braeside sewage treatment plant, construction, melbourne metropolitan board of works, mmbw

Ialan gardiner collection, 1939, construction, castlemaine sewage treatment plant

Ialan gardiner collection, 1939, construction, castlemaine sewage treatment plant, kerang sewage treatment plant

alan gardiner collection, 1939, construction, kerang sewage treatment plant

alan gardiner collection, construction, maribyrnong munitions sewage treatment

alan gardiner collection, construction, maribyrnong munitions sewage treatment

alan gardiner collection, construction, maribyrnong munitions sewage treatment

alan gardiner collection, construction, maribyrnong munitions sewage treatment

alan gardiner collection, construction, maribyrnong munitions sewage treatment

alan gardiner collection, construction, maribyrnong munitions sewage treatment

Clothing. Women's white sleeveless linen nightgown. Below knee length cut from two straight pieces of fabric gathered into casing across the top. Two rectangular pieces of fabric attached to the casing to form shoulders. Arm holes edged with 1.5 cm broderie lace. Square neckline edged with .5 cm lace scalloped edge.costume, female, women's white sleeveless linen nightgown

Clothing. A square of very fine linen, 12 cms diameter, surrounded by a one cm edging of drawn threadwork, and 9.5 cm of fine crochet. Crochet has circular shaped motifs, some very lacy and open, with a band of more closely worked pattern on either side of the open motifs. A looped pattern with picot finish edges the handkerchief.costume accessories, female, linen handkerchief with crochet edge.

Rectangular shaped tray cloth/hand towel, edged in 1.25 cm wide cotton lace edging - edging is a braid type, commercially made edging. One end has a 10 cm band of machine - made cotton lace, in a floral design. Lace has been attached to the linen fabric in a zig - zag machine stitch. Cream in colour.manchester, table linen, tray cloth/hand towel

Queen Victoria’s appreciation of German artist Franz Xaver Winterhalter (1805-1873) began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Many legitimate copies of Winterhalter’s portrait were produced and presented to the Parliaments of the British Empire, including the Parliament of Victoria. Such copies are referred to as “After F. X. Winterhalter” and artists responsible include William Corden and John Prescott Knight. When creating copies, artists were not restricted by the size of the original portrait. Walterhalter’s original is 2.7m x 1.7m whereas copies can reach an impressive 4.5 metres in height. The portrait that hangs in Queens Hall at the Parliament of Victoria is not signed. Comparison with other copies of the work suggest that the Parliament’s painting may have been completed by William Corden. The Government Art Collection (United Kingdom), has a Queen Victoria copy in their collection and Parliament’s portrait has similar traits. A copy by John Prescott Knight which hangs in the Legislative Council in the Parliament of Tasmania is quite different, particularly with reference to the shape of the young Queen’s face, which is rounder in the Corden portraits.This portrait of Queen Victoria was presented as a gift by the British Government to the Parliament of Victoria in April 1860. Painted on fine linen supplied under Royal Warrant by the workshop Winsor and Newton, London, the frame has been embellished with elaborate wooden carvings. Framed portrait, oil on linen, of Queen Victoria. Victoria is posed in front of a curtain partially obscuring a building (possibly Buckingham Palace) in the background. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. A carved wood and composition element crown, resting on a tassled pillow sits on top of the frame.Canvas unsigned. Verso printed: ‘WINSOR AND NEWTON / Rathbone Place, London’. Embossed stamp into stretcher wood, stamped ‘Winsor and Newton’ in black ink.victoria queen of great britain, 1819-1901, winterhalter, franz xaver, 1805-1873, corden, william, queens hall, parliament of victoria

An e.21st century digital print on canvas, of an original l.19th century sepia photographic print. Image features a group of men, women and children, sitting on, around, or standing above a flight of steps, in front of a large mansion. Most of the participants are holding tennis racquets. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis

An e.21st century digital print on canvas, of an original e.20th century black and white photographic print. Image features a game of Men's Doubles tennis being played on a lawn court, surrounded by spectators. This image possibly depicts a tournament being played at Devonshire, England. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis

An e.21st century digital print on canvas, of an original e.20th century sepia photographic print. Image features an informal group portrait of men, women, and children. The teenaged boys wear blazers, and are holding tennis racquets, whilst the younger boys wear sailor suits. Materials: Canvas/Cotton, Ink, Wood, Metal, Paper, Paint, Linentennis

Cardboard box, originally packaging for men's hankerchiefs. Graphic on lid depicts a woman holding a racquet and ball, wearing clothing of ca. 1865 fashion. On underside of lid is a handwritten list (indecipherable). Box empty. Label on end of box indicates: BEST QUALITY/GENTS/PURE LINEN CAMBRIC HKFS/ 1 DOZ. Materials: Cardboard, Ink, Papertennis

This item is part of the Dodgson Collection, which was bequeathed to Queen's College in 1892 by the Rev. James Dodgson. The collection was created by Aquila Dodgson, brother of James. Aquila Dodgson was a friend of the English Egyptologist Flinders Petrie, and it was through this friendship the Aquila was able to acquire ancient Egyptian artefacts. A detailed study of the collection was made by Christine Elias "Discovering Egypt: Egyptian Antiquities at the University of Melbourne", M.A. thesis 2010.Cartonnage coffin blackened on inside and out from resin/bitumen used to preserve bird and cover coffin. Remains of gold foil on exterior of coffin where bird's head would rest. Only head of bird extant with remainder of material now gone. It is also possible the coffin solely contained the head and was filled with plant remains, mud or linen.james dodgson, aquila dodgson, flinders petrie, bird, mummy, coffin

Rocket equipment which has been used in various lifeboat and rocket stations on the Victorian Coast. It is unclear if this is the original rocket equipment from Port Campbell. This equipment, if not original has been used in rescue operations and is identical to the equipment that was in use at Port Campbell from C.1890 onwardsTwo cylindrical rockets made of base metal with orange painted wooden heads. Three long cedar, wooden sticks (octaganal) that attach to the rockets. They have spring clips and a section of metal and a sheath to protect the wood from fire and with grooves for the rope. One rocket is attached firmly to a stick. A long length of cotton/linen (?) rope is attached to one of the rocketsYes

This screen with embroidered and appliqued panels was entered in the First Australian Exhibition of Women's Work 1907, at the Royal Exhibition Building in Melbourne. This landmark exhibition gave women artists and craft workers an opportunity to display their works to a broad audience and gain recognition for the variety and high standard of the works in both traditional and non-traditional fields for women. The embroidery and applique design is based on an original design for a similar object made by British Arts and Crafts Architect and Designer, M.H. Baillie-Scott, which was published in The Studio magazine in the early 1900s,This three-panel draught screen was made by Hilda Leviny in the Arts and Crafts style and entered into the First Exhibition of Women's Work, at the Exhibition Buildings, Melbourne in 1907.Arts and Crafts style three-panel draught screen made from timber(American Oak), linen panels, silk embroidery threads, beaten copper decoration and varnish. The embroidered panels, made by Hilda Leviny, are mounted within the timer framework, depicting a design of birds and trees in the Arts and Crafts style. Pattern Reg. No. 3227.2 and 2503. With copper decoration.hilda leviny, buda, castlemaine, domestic furniture, handcrafts, needlework, art nouveau, 1907, exhibition of women's work, royal exhibition building, woodwork, draught sceen, arts and crafts movement, embroidery and applique

A blue coloured linen cover on cardbaord. Top right corner in ink reds AAP 7494-007-3. Under this reads Australian Air Publication 749.61. Above the RAAF insignia reads Royal Australian Air Force and under the insignia are the details of the manual. Down the left hand side a three metal screws holding the manual together.royal australian airforce - manuals, australian air publication, high energy ignition unit

Two Cards with thread wound around middle:- 1851.1 Thread 1851.2 Mending lisle. Third Card "Rite Tone for hosiery darning. Box (empty) for Hose Mending1851.1 Barbour's Lisburn N.Ireland Trade Mark Flax Linen Thread 15 Yards|1851.2 Della Darn Mending List Fashion Shades For Hosiery 3. Darning. Rite Tone Made in Australiaa. specially prepared for Hosiery/Darning Etc. 4. Box - The Handbag Silk Hose Mending Outfit 12 Fashionable Shades with needle Made in England.handcrafts, needlework

Linen tablecloth created by Charlotte Elizabeth Moullin, grandmother of the donor. Last used by family for the christening donor's son Cameron, 50 years ago (From 2019). The tablecloth was passed down through the family as a family heirloom. The donor has no grandchildren so has donated the tablecloth to the BHS.Large rectangular white white tablecloth bordered in lace with lace inserts and extensive cut work. There is a central rectangular insert with geometric pattern."C E Moullin" embroidered in red cotton on one corner.late victorian needlework, handmade embroidery, tablecloth

The jug cover has beads on the border, which are used to weigh the cover down and keep it on the jug. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families) This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future marriage. The item is a fine example of early 20th-century needlework and handmade domestic items.Jug Cover, white crocheted square with a Maltese Cross incorporated in the design and green beads on the crocheted edge. Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, handmade, craft, manchester, linen, haberdashery, miss a.e. emery dressmaker, needlework, crochet, jug cover, crocheted cover

This decorative crocheted tea cosy or teapot cover is handmade and used to help keep the tea hot and ready to serve. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future marriage. The item is a fine example of early 20th-century needlework and handmade domestic items.Tea cosy, white, crocheted cover with an incorporated flower design. Half circle in shape. Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, handmade, craft, manchester, linen, haberdashery, needlework, crochet, teapot cover, tea cosy, tea service

List of equipment for setting up Holmbush with prices, not including items bought from Thomson's or under terms of Contract. Including prices and applicable sales tax. Included items such as teapots, irons, toasters, buckets, cutlery, brushes, carpet sweeper, trays, garden tools, rugs, mattresses, pillows and linen. A record of written correspondence regarding purchasing furniture and items for the first hostel established by Legacy in 1943.List of equipment and prices for Holmbush on white quarto copy paper x 4 pages, with black type, two hole punched.Tick marks or crosses in pencil alongside some items.holmbush administration, residences

Lightweight knee length linen coat with long sleeves. The coat is single breasted with a V neckline with a fold over collar of black linen fabric. There are two rows of black cotton piping on the edges of the collar. The front is made up of four pieces. The two centre panels are shaped at the bust line. The two side panels are narrow at the shoulders and flare slightly from the hip line to the hem line. There is a decorative line of stitching on the front seams. The front of the coat is fastened with three black buttons (2 cm) and button holes. The back of the coat is made up of three pieces. The centre panel is shaped in at the waistline. The two side panels are narrow at the shoulders and flare slightly from hip line to hemline. The two back seams each have three decorative black buttons (2 cm) vertically between bust line and waist. There is a decorative line of stitching on the back seams. The coat has long set in sleeves shaped at the elbow and with black linen cuffs (10 cm). There are two rows of black cotton piping on the top edge of each cuff and one row of black cotton piping on the lower edge of each cuff. There is a 14 cm cotton tape hanging tag stitched inside the coat just below the collar on the back. Machine stitched.costume, female daywear, linen coat