Summary For over 250 years the Withers family of Birmingham worked as tailors, sometimes also as butchers. During the Georgian era, English society changed and the Withers family with it. First came a gentleman amateur artist in the form of Edward Weston Withers, grandfather of Walter Withers. Then Edwin Withers, Walter Withers' father, took to tobacco, rope and twine manufacturing which put an end to the traditions of butchery and tailoring.The origins of Walter's painterly ambitions are explored. There was a physical altercation between Walter and his father, Edwin. That fight emerged out of contradictory expectations between Walter's father, Edwin and his grandfather Edward. Those expectations and the societies which kindled them contributed to Walter's character and art. Up until now there has been no family history about Walter Herbert Withers (1854-1914) a notable Australian landscape artist of the Heidelberg school and friend to Tom Roberts, Frederick McCubbin, Arthur Streeton and Clara Southern. Walter, the son of a rich Victorian businessman, married Fanny Flinn, the daughter of a commercial salesman who also owned part of a Birmingham brewery. In No Place Quite Like It, Walter, his wife Fanny and his family are depicted against the social contexts in which they each grew up. Our appreciation of Walter Withers' art is expanded: by knowing those forces which helped shape his early years and how he responded to them; by gaining new insights into his origins and how he grew into the man he was. We also gain a fresh appreciation of his wife Fanny, and the influence she had upon him, their children, and upon the society in which she lived. Includes 200 pages of text, Prefaces by Andrew Mackenzie OAM (art historian), and Eileen Mackley AM (President, Victorian Artists Society), Bibliography and an Index, extensive images, maps, charts and family trees, provide a visual porthole through which an insight might be had into the lives and times of Walter Withers and his family history.walter withers, fanny withers (nee flinn), family history

Rolf Boldrewood (1826-1915) ‘Rolf Boldrewood’ is the pen-name used by Thomas Alexander Browne as a writer. Browne was the eldest child of Captain Sylvester John Brown and Elizabeth Angell nee Alexander. He was born in London on 6th August 1826 and arrived in Australia with his parents and siblings when he was 5 years old and grew up in Sydney. In the 1860’s Browne added the ‘e’ to his surname. As a 17 year old Browne took up land in the Western District of Victoria between Portland and Port Fairy on a property named “Squattlesea Mere”. He remained there until 1858, enjoying the squatters’ life on his 32,000 acre property, growing potatoes and running cattle and horses. He sold in 1858 and purchased a sheep station on the Murray River near Swan Hill. He later sold this and bought another sheep station near Narrandera until bad seasons and severe droughts eventually caused him to change his career after 25 years as a squatter. Over the next 25 years Browne held the position of Police Magistrate and as a gold commissioner in various locations. His third career as an author lasted approximately 40 years. In 1865 he wrote two articles on pastoral life while he was recovering from a riding accident. In the 1870’s his writing was bringing in the income to support his family, changing his focus to the writing of novels. A series of these was written for the Australian market and published in The Sydney Mail and the Centennial Magazine. His later novels were aimed at the overseas markets. His best known novel “Robbery Under Arms” was written from 1882 to 1883 and has been serialised on radio in Australia and Britain. The novel was filmed in 1907, 1920 and 1957, and in 1985 it was made into a television series. It is now an Australian Classic. He also wrote short stories, several nonfiction graziers’ guides, and an autobiography named “Old Melbourne Memories” in 1884. [This information has been taken from Wikipedia; Australian Authors-Perry Meddlemiss; Australian Dictionary of Biography, Browne, Thomas Alexander (1826-1915)] A Colonial Reformer Author: Rolf Boldrewood Publisher: MacMillan & Co Date: 1891Label on spine cover with typed text RA 823.91 BOL Front loose endpaper has a stamp from Warrnambool Public Library The fly paper has the name "A. H. Stanley" handwritten in pencil. warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, great ocean road, book, warrnambool library, warrnambool mechanics’ institute, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, warrnambool public library, a colonial reformer, rolf boldrewood

The British Australasian Tobacco Co. (based in Melbourne and Sydney. The parent company was founded in England, circa 1902). This item "Lucky Hit" was the fore runner of the "Lucky Strike" brand name. The ready rubbed tobacco held within the tin was mainly used by those smokers who rolled their own cigarettes. These smokers would have mainly used their palm and formed a cup then placing their choice of the amount of tobacco to be rolled. This would then be placed on the fine cigarette paper and rolled and sealed (using saliva in the mouth) into the required shape. There were mechanical "roll you own" gadgets on the market but most rural users, especially males used their palms. The quantity of tobacco used to make up the cigarette was up to the individual user. The thinner that the cigarette was rolled the longer and more economical did the supply last. The by -products of this method were nicotine stained fingers and hands. "Chain" smokers were easily identified and could therefore be discriminated against obtaining smoke sensitive employment. The two world wars (1914-18 and1939-45) produced a significant rise in the consumption of cigarette use by men and the eventual overflow to women. Cigarette smoking before the 1900s was seen as rough and uncouth (socially frowned upon), however after the introduction of overseas films (U.K. and U.S.A.) and film stars presenting smoking as socially acceptable the rise of smoking cigarettes, especially roll you own (American western movies) in rural areas was an accepted way of life. Things however started to change in the mid 1900s when medical evidence pointed to the health problems of regular smokers. Governments were now implementing non smoking education material. Restrictions on where and when smoking was permitted and acceptable started to creep into all areas of society whether city or rural. This was the era that highlighted the use of roll your own cigarettes, especially when the costs of "tailor made" cigarettes were taxed at an increasing amount. Roll your own cigarettes also provided an avenue for the consumption of illicit drug use.The significance of this ready rubbed tobacco tin to this rural region is, stems from how much influence that the Western novels and overseas films (portraying rural lifestyles) played in shaping the rural social and working mores of the Kiewa Valley. The post war depression (financially) resulted in more smokers turning away from expensive machine (tailor) made cigarettes to the roll your own, using ready rubbed tobacco. This tobacco tin relays a long ago era, when personal contact, and not something that has been written down by some "unknown", was valued as the true appraisal of a member of the community. This was especially relevant in a small regional area such as the Kiewa Valley. Although social networking was not as fast then as the internet provides now, appearances, manners, fashion and etiquette with first impressions high on the order of evaluating someone in the community. Pointer such as the brand of tobacco smoked was part of the rural assessment method. Up until the demise of the Australian Tobacco Industry, circa 2004, the Kiewa Valley and surrounding district was part of a vibrant producer of tobacco leaves. The remnants of this industry still remain today but the drying sheds (for tobacco leaves) are now used to store hay for the valley's dairy and beef cattle industries. Tins 2,3 and 4 were found (in 2009) at Wallace's Hut on the Bogong High Plains. This tobacco tin is constructed from tin plated thin rolled steel. The lid is attached by two pressed and formed (from the main frame) hinges using the nip and tuck construction method. The lid and outside frame have been gold & silver anodised. Tins 2,3 and 4 have the Union Jack on the front lid. One is too rusty to read. The other two have "A blend containing choice selected Australian grown leaf" in white across the bottom on the red border and above the "2oz net weight when packed". In the centre and on the outside of the lid and surrounded by a reproduction of the "Union Jack" is stamped, "Lucky Hit Tobacco" within these words are also stamped "Ready Rubbed". The bottom of the lid is stamped (in smaller script) "2oz NET WEIGHT WHEN PACKED" and underneath this and on the rim of the lid is "THE BRITISH AUSTRALASIAN TOBACCO CO. PTY. LTD. MELBOURNE" on the inside of the lid and stamped in black print on a gold anodised lid is " NOTICE "(underlined) "Every tin of genuine "Lucky Hit has the name of the Manufacturing Company printed on wax paper lining; also on the band or wrapper with which the tin is sealed. THE BRITISH-AUSTRALIAN TOBACCO CO. PTY. LTD., MELBOURNE" and underneath this and underlined is " None genuine without the band or wrapper" On the hinge side of the lid is "LUCKY HIT READY RUBBED TOBACCO" Tins 2,3 and 4 Vary to the above inscription.roll your own, cigarette tins, smoking accessories, personal effects, tobacco containers, tobacco

The British Australasian Tobacco Co. (based in Melbourne and Sydney. The parent company was founded in England, circa 1902). This item "HAVELOCK" is one of many ready rubbed tobacco tins produced by the British Australasian Tobacco Company.The ready rubbed tobacco held within the tin was mainly used by those smokers who rolled their own cigarettes. These smokers would have mainly used their palm and formed a cup then placing their choice of the amount of tobacco to be rolled. This would then be placed on the fine cigarette paper and rolled and sealed (using saliva in the mouth) into the required shape. There were mechanical "roll you own" gadgets on the market but most rural users, especially males used their palms. The quantity of tobacco used to make up the cigarette was up to the individual user. The thinner that the cigarette was rolled the longer and more economical did the supply last. The by -products of this method were nicotine stained fingers and hands. "Chain" smokers were easily identified and could therefore be discriminated against obtaining smoke sensitive employment. The two world wars (1914-18 and1939-45) produced a significant rise in the consumption of cigarette use by men and the eventual overflow to women. Cigarette smoking before the 1900s was seen as rough and uncouth (socially frowned upon), however after the introduction of overseas films (U.K. and U.S.A.) and film stars presenting smoking as socially acceptable, the rise of smoking cigarettes, especially roll you own (American western movies) in rural areas was an accepted way of life. Things however started to change in the mid 1900s when medical evidence pointed to the health problems of regular smokers. Governments were now implementing non smoking education material. Restrictions on where and when smoking was permitted and acceptable started to creep into all areas of society whether city or rural. This was the era that highlighted the use of roll your own cigarettes, especially when the costs of "tailor made" cigarettes were taxed at an increasing amount. Roll your own cigarettes also provided an avenue for the consumption of illicit drug use.The significance of this ready rubbed tobacco tin to this rural region is, stems from how much influence that the Western novels and overseas films (portraying rural lifestyles) played in shaping the rural social and working mores of the Kiewa Valley. The post war depression (financially) resulted in more smokers turning away from expensive machine (tailor) made cigarettes to the roll your own, using ready rubbed tobacco. This tobacco tin relays a long ago era, when personal contact, and not something that has been written down by some "unknown", was valued as the true appraisal of a member of the community. This was especially relevant in a small regional area such as the Kiewa Valley. Although social networking was not as fast then as the internet provides now, appearances, manners, fashion and etiquette with first impressions high on the order of evaluating someone in the community. Pointer such as the brand of tobacco smoked was part of the rural assessment method. Up until the demise of the Australian Tobacco Industry, circa 2004, the Kiewa Valley and surrounding district was part of a vibrant producer of tobacco leaves. The remnants of this industry still remain today but the drying sheds (for tobacco leaves) are now used to store hay for the valley's dairy and beef cattle industries.This tobacco tin is constructed from tin plated thin rolled steel. The lid is attached by two pressed and formed (from the main frame) hinges using the nip and tuck construction method.The lid and outside frame have had a green "weave" pattern anodised to the metal.On the outside of the lid and at the top left is stamped, in gold coloured letters "HAVELOCK". The bottom of the lid is stamped (in smaller script) "READY RUBBED TOBACCO" and below this in smaller lettering "2oz NET WEIGHT WHEN PACKED". On the rim of the lid is "THE BRITISH AUSTRALASIAN TOBACCO CO. PTY. LTD." Inside of the lid and stamped in black print on a gold anodised lid is "Every tin of genuine HAVELOCK Ready Rubbed Tobacco has the mane Havelock printed on the paper lining, and also on the band or wrapping sealing the tin. On the hinge side of the lid is "HAVELOCK READY RUBBED"roll your own, cigarette tins, smoking accessories, personal effects, tobacco containers

Guests at the West Riding Hall, Henry Petrie Community Centre, Montmorency on the occasion of a buffet dinner as part of the Shire of Eltham centenary celebrations. Left: Mr Higgins, Methodist Minister, Eltham and Mrs Higgins and Brian & Irene Robertson, both Captains in the Salvation Army. Reverend William ‘Bill’ Leslie Higgins (b. 15/1/1925, Renmark, Victoria, d. 18/10/1998) and Mrs Ella May Higgins (née Leersen b. 3/11/1921, Avoca, Victoria, d. 24/5/2003). William was ordained to the Methodist Church of Australia on September 1, 1959. Bill and Ella were involved with many communities throughout Bill’s full-time service until 1989. These parishes included Underbool, Wycheproof, Drysdale, Wonthaggi, South Yarra, Eltham, Nathalia, Murchison and Seymour. Bill and Ella touched many thousands lives during their ministry. Bill passed away in 1998 while assisting with a Sunday evening service near Drysdale, and Ella continued to dedicate her time to others until her death in 2003. Information received via Brian and Irene Robertson's son, Mark (15 Dec 2023), noted that in 1969 they lived in Prahran and by 1971 they would have been appointed to Briar Hill (now Greensborough). Brian Robertson's parents and at least one set of his grandparents were also Salvation Army officers (primarily from Victoria), whilst Irene was originally from Perth and she had 2 other sisters that became Salvation Army Officers as well. Irene also had 3rd sister and younger brother who were linked to the Salvos (as was Brian’s brother). After several years in church work, Brian and Irene transferred over to the Social Services branch of the Salvos and worked with homeless men, broken families, drug & alcohol dependent clients (similar to what Brendan Nottle does in Burke St), family stores and eventually seniors (nursing homes). Brian, known as Robbie passed away in 2013, and Irene is currently living in a retirement unit. [Dedc 2023]This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagesepp, shire of eltham pioneers photograph collection, shire of eltham, shire of eltham centenary, henry petrie community centre, centenary celebrations, buffet dinner, higgins, rev. william (bill) higgins, ella may higgins (nee leersen), salvation army, brian robertson, irene robertson

This photograph shows students of Grades 5 and 6. The 19th of March 1886 proved an important day in the lives of many early settlers in the Orbost area, because on this day the Orbost State School opened. The fact that the school had first operated tem­porarily in a leased building, and on a half-time basis with SS2745 Jarrahmond, did not dampen the enthusiasm of the local inhabitants as they saw their offspring commence their education under the guidance of HT Campbell Mackay. However he remained in charge only until 12th of May 1886. The second HT, John Rowe, served until 1908. On 30th of June 1887, a portable room was provided; it being brought to the area by schooner. The school now had accommodation for 30 pupils; the teacher's welfare was considered because quarters of two rooms were attached. As the population increased so did the needs of the school. This was reflected in the provision of a larger classroom in 1898. During 1910-11 the first approaches were made to the Department for the establishment of a HES in Orbost and this became a reality in 1912. Orbost HES supplied post-primary education in the district until a high school was built in 1948. When fire destroyed the school in 1941 local halls were used as classrooms until a new school was built. Work was quite rapid and a new brick structure was opened by the Hon. A. E. Lind, MLA, on 13th of February 1942. This new building was a fine type of school of which both the pupils and the HT Leslie Collins were indeed proud. But Orbost continued to develop and the new school was soon over­taxed. This resulted in the erection of two Bristol classrooms in 1947. By 1950, when the school population had reached 500 pupils the opening of the new school at Orbost North was welcomed by all concerned. In 1963 the Department purchased land diagonally opposite the school and developed it as a playing area. In 1965 two LTCs were opened in November, and in October 1968 the Brodribb School building was moved to SS2744 Orbost for use as a general purpose room. (info. from Schools East Gippsland) This item is associated with the history of education in Orbost.A black / white photograph framed by a grey buff card with the photographer's label in the RH bottom corner. The photograph shows a group of students outside their school. building.education -orbost orbost-state-school

William Shakespeare 1564 to 1616 was an English playwright, poet, and actor, widely regarded as the greatest writer in the English language and the world's greatest dramatist. He is often called England's national poet and the "Bard of Avon" . His extant works, including collaborations, consist of some 39 plays, 154 sonnets, three long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright. They also continue to be studied and reinterpreted. Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. At age 49 (around 1613), he appears to have retired to Stratford, where he died three years later. Shakespeare produced most of his known works between 1589 and 1613. His early plays were primarily comedies and histories and are regarded as some of the best work produced in these genres. He then wrote mainly tragedies until 1608, among them Hamlet, Romeo and Juliet, Othello, King Lear, and Macbeth, all considered to be among the finest works in the English language. In the last phase of his life, he wrote tragicomedies (also known as romances) and collaborated with other playwrights. Many of Shakespeare's plays were published in editions of varying quality and accuracy in his lifetime. However, in 1623, two fellow actors and friends of Shakespeare's, John Heminges and Henry Condell, published a more definitive text known as the First Folio, a posthumous collected edition of Shakespeare's dramatic works that included all but two of his plays. The volume was prefaced with a poem by Ben Jonson, in which Jonson presciently hailed Shakespeare in a now-famous quote as "not of an age, but for all time.A book published in 1908 of Shakespeare works and significant as yet another reinterpreted of his plays only reinforcing that he was not only of his time but as his friend once said Shakespeare's works are for all time.The cover is burgundy coloured leather with embossed lettering and the inside covers are a dark green with a light symmetrical pattern. The edges of the pages are gilt.“The Complete Works of William Shakespeare” with introduction by Barry Cornwall (Bryan Walter Procter). Published by Ward, Lock and Co. Limited, London, New York and Melbourne. The book has an introduction by Barry Cornwall (Bryan Walter Proctor).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, complete works of shakespeare, book, complete works of william shakespeare, barry cornwall

The sanctuary lamp was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. The lamp was donated by Miss C. Roberts to St Nicholas Seamen's Church, Williamstown, as a memorial to Edward Roberts, who passed away on August 7th, 1905, as stated on the plaque. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. The lamp is socially significant as a lasting memorial to Edward Roberts. It is also significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The lamp is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this lamp to the Mission to Seamen highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Sanctuary Lamp, brass six-sided lamp supported by three chains to a main disc, with single chain above. Ring on base. Ruby glass bowl on top. Inscribed glass plates on sides. Lamp bowl is lit by electric lamp. Made in England.Marked on plates "In Loving Memory of Edward Roberts who passed away 7 August 1905 Nearer My God To Thee"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, missions to seamen victoria, mission to seafarers, flying angel’s club, st nicholas seamen’s church williamstown, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, sanctuary lamp, electric lamp, church lighting, pendant lamp, edward roberts, memorial plaque, 7-08-1905, c. roberts

This Book of Common Prayer, with Psalms, was part of the original furnishings of St Nicholas Seamen's Church, Williamstown, Victoria. The church was operated by the Missions to Seamen organisation. It was dedicated to John Thomas and Rev A Gurney Goldsmith. It is one of 48 similar books. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This book is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The book is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this book to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Book, titled The Book of Common Prayer. It has a textured black leather cover with embossed lettering on the spine and an embossed gold cross on the front cover. The spine is decorated with horizontal ribs. The fly page has a printed red shield with animal figures in each quadrant and a cross in the shield's centre. The book was printed by Cambridge University Press. Inscriptions and the emblem of a large cross are inlaid in gold on the cover. The edges of the 591 pages are gold leaf. There is an inscription on the inside of the front cover. The book was dedicated to John Thomas and Rev A Gurney Goldsmith. The book is one of forty-eight similar books in the St Nicholas Seamen’s Church Collection.On the spine "COMMON PRAYER" "CAMBRIDGE" On the front cover Symbol [CROSS] Inside the front cover "John Thomas and Rev A Gurney Goldsmith"flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, prayer book, the book of common prayer, cambridge university, john thomas, rev a gurney goldsmith, book 47

This hymn book was part of the services held at the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. The Church was operated by the Mission to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria the orgainsation began in Williamstown in 1857. It was as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981 and closely resembles the Williamstown chapel. This hymn book is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The item is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. Title "Hymns, Ancient and Modern Standard Edition", Dark cloth-covered cover featuring floral inlay decoration and gold leaf lettering. Stamped inside "From the Missions to Seamen, Williamstown, Melbourne." Publisher William Clowes and Sons Ltd London. This is one of the original items in our ‘St Nicholas Seamen's Church Williamstown Collection’.Stamped inside "From the Missions to Seamen, Williamstown, Melbourne."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, hymns, ancient and modern standard edition, book, st nicholas seamen's church williamstown collection, hymn book, religious service, religion, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, harbor lights guild, joy club for fighters, ladies lightkeepers’ auxiliary, missions to seamen victoria, mission to seafarers, flying angel’s club, st nicholas seaman’s church williamstown, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown, worship, praise, hymns ancient and modern

This framed print is part of a number of items from the St. Nicholas Seamen’s Church, 139 Nelson Place, Williamstown, Victoria, used during religious services there. The Church was operated by the Mission to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. Its symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the orgainsation began in Williamstown in 1857. It was a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This print is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The item is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this item to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Print of a watercolour painting, framed in Huon pine wood behind glass.Depicts the artist's impression of the Biblical event referred to as The Last Supper. Inscription marked on the back. Australian, circa 1890. The print is part of the St Nicholas Seamen's Church Collection (NOTE: This is not a copy of Leonardo da Vinci's 'Last Supper'.)On rear of board: "156" flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, last supper, worship, religious worship, ladies lightkeepers’ auxiliary

This Rostrum lapel badge is one of a set of badges collected by Dr W R Angus from the organisations in which he was involved. The set of badges is now part of Flagstaff Hill’s comprehensive W.R. Angus Collection, donated by the family of Dr W R Angus, surgeon and oculist. This badge represents the Rostrum organisation, the longest-running public speaking organisation in the world. Rostrum has a Warrnambool branch, Warrnambool Club 24, which currently meets at the rear of the South Warrnambool Presbyterian Church building at 11 MacDonald Street, Warrnambool. The original Rostrum club was formed in England in 1923 and the first Australian Rostrum meeting was in 1930. The maker, Angus & Coote, is an Australian company that was founded by Edmund James Coote in Sydney in 1895. The firm made insignia during WWII and is famous for its high-quality jewellery. The W.R. Angus Collection includes historical medical equipment, surgical instruments and material belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) and Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. It includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. During World War II He served as a Military Doctor in the Australian Defence Forces. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This badge is significant for connecting Doctor Angus with organisations that he supported. The badge also associates Dr Angus with the Rostrum Club in Warrnambool. The badge is of interest as the maker, Angus & Coote, only made badges during WWII. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Lapel badge; a square gold-coloured metal and blue enamel badge. The blue enamel covers three-quarters of the top of the square badge and has a bold 'R' embossed onto it. The remaining quarter is gold with the organisation's name in blue letters. The maker's name is embossed on the back. The Rostrum badge was made by Angus & Coote.This badge is part of a set of badges collected by Dr W R Angus. the set represents organisations that he was involved in, and is part of the W.R. Angus Collection.Front “R” above “ROSTRUM”. Reverse; “ANGUS & COOTE”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, w.r. angus, badge, organisation badge, flagstaff hill maritime museum and village, badges, buttons, lapel badge, rostrum, warrnambool club 24, angus & coote sydney, rostrum club 24, public speaking club, rostrum lapel badge, wwii badge, 1939-1915

The stencil set has signs of use, with ink on the metal and paper stencils, and in the mixing lid and the block and tube of ink have been used too. The larger brush in this set is labelled "rubber set". The phrase is not to be confused with the 1900-1950s firm Rubberset but ''rubber set" is the process of setting the bristles of a brush into rubber to keep them together and hold them in place. This stencil set once belonged to Dr William Roy Angus. He habitually labelled his possessions with his name - this stencil set may have been used for that purpose. This set is now part of Flagstaff Hill’s comprehensive W.R. Angus Collection, donated by the family of Dr W R Angus, 1901-1970, surgeon and oculist. The W.R. Angus Collection: - The W.R. Angus Collection includes historical medical equipment, surgical instruments and material belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) and Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. It includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. During World War II He served as a Military Doctor in the Australian Defence Force. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.This stencil set is an example of objects belonging to Dr. W. R. Angus, 1901-1970, surgeon and oculist. It shows the keeness of the owner to label his posessions. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Stencil set with 27 metal cut stencils of the 26 letters of the Alphabet plus an ‘&’, and a metal clip to hold the set together (.1 - .28). The set also has two wooden handled brushes (large with a purple band .29, small with grey band .30) a solid block of black ink and a tube of black paint (.31 and .32) in a green tobacco tin, and a round metal lid used for mixing the inks. The set is contained in a vintage wooden cigar box with a hinged lid. Another stencil (8452.33) is made from stiff waxed paper and reproduces the medical symbol [serpent wound around a rod or cross]. This set is part of the W. R. Angus Collection.Stamped on a large brush "PURE BRISTLE" "RUBBER SET" and a logo (looks like the head of an animal) On small brush "- - - ER" On the wooden box lid and inside the lid "EL VUELO" within a round logo with leaves, "MANILLA LEAF" and on the long side "PERLAS" "25" On wooden box end handwritten in pencil "STENCIL" On ink in a tin "The "GREYS" "SILK CUT VIRGINIA TOBACCO" On the round lid "‘Cellona’"flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, flagstaff hill maritime museum and village, dr w r angus, dr ryan, w.r. angus collection, stencils, stencil set, bristle brushes, rubber set brush, metal stencils, waxed paper stencil, black ink block, black ink tube, stencil ink, labelling equipment, el vuelo, manilla leaf cigars, the greys, virginia tobacco, silk cut virginia tobacco

Rolf Boldrewood (1826-1915) ‘Rolf Boldrewood’ is the pen-name used by Thomas Alexander Browne as a writer. Browne was the eldest child of Captain Sylvester John Brown and Elizabeth Angell nee Alexander. He was born in London on 6th August 1826 and arrived in Australia with his parents and siblings when he was 5 years old and grew up in Sydney. In the 1860’s Browne added the ‘e’ to his surname. As a 17 year old Browne took up land in the Western District of Victoria between Portland and Port Fairy on a property named “Squattlesea Mere”. He remained there until 1858, enjoying the squatters’ life on his 32,000 acre property, growing potatoes and running cattle and horses. He sold in 1858 and purchased a sheep station on the Murray River near Swan Hill. He later sold this and bought another sheep station near Narrandera until bad seasons and severe droughts eventually caused him to change his career after 25 years as a squatter. Over the next 25 years Browne held the position of Police Magistrate and as a gold commissioner in various locations. His third career as an author lasted approximately 40 years. In 1865 he wrote two articles on pastoral life while he was recovering from a riding accident. In the 1870’s his writing was bringing in the income to support his family, changing his focus to the writing of novels. A series of these was written for the Australian market and published in The Sydney Mail and the Centennial Magazine. His later novels were aimed at the overseas markets. His best known novel “Robbery Under Arms” was written from 1882 to 1883 and has been serialised on radio in Australia and Britain. The novel was filmed in 1907, 1920 and 1957, and in 1985 it was made into a television series. It is now an Australian Classic. He also wrote short stories, several nonfiction graziers’ guides, and an autobiography named “Old Melbourne Memories” in 1884. [This information has been taken from Wikipedia; Australian Authors-Perry Meddlemiss; Australian Dictionary of Biography, Browne, Thomas Alexander (1826-1915)] Old Melbourne Memories 1 Author: Rolf Boldrewood Publisher: MacMillan & Co Date: 1896Label on spine with typed text R.A. 994.5 BOL warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, old melbourne memories 1, rolf boldrewood

The Bronze Medal and Certificate of Merit of the Royal Humane Society of Australasia were awarded to James Patten for the bravery he displayed on 18th April 1890, and presented to him on 21st May 1890. The Royal Humane Society of Australasia was founded in 1874 with the aim to recognise those who risked their lives to save others and to assist those whose acts of bravery caused them or their surviving dependants to be disadvantaged in some way. Details of the incident were published in the Argus, Saturday 19 April 1890, page 11 - "FATAL BOATING ACCIDENT, (BY TELEGRAPH FROM OUR CORRESPONDENT.), WARRNAMBOOL, FRIDAY A fatal boating disaster occurred in Lady Bay this morning, the victim being Joseph Lowe, licensee of the Bay View Hotel, South Warrnambool. The deceased, in company with two lads named James Ferrier and James Patten, went out in a small dingy to shoot musk ducks. The water was perfectly smooth, and the party were tempted to proceed as far as the mouth of the Hopkins River. In their eagerness they neglected to keep clear of the breakers, and were presently carried in on the crest of a large wave, and the boat cap sized within a cable's length of the shore, precipitating the occupants into the water. Patten and Lowe stuck to the overturned boat, Ferrier striking out for the shore, which he reached in an exhausted state. In the meantime his companions had been washed off the boat, and were struggling in the breakers. Lowe was unable to swim, and Patten kept him afloat, at the same time making gallant attempts to get him ashore, but finally had to leave him to his fate. Ferrier, seeing Lowe's danger, undressed and swam out, but became exhausted. Ferrier and Patten were both found in a fainting condition by persons who saw the catastrophe from the jetty, and ran along the beach to render assistance. Attempts were subsequently made to rescue Lowe's body, which could be seen washing abort in the surf. These proved unsuccessful, and no hope is now entertained of recovering it. Lowe was a smart young man, 28 years of age, and unmarried. He was formerly bar-man at the Commercial Hotel here, having been engaged in Melbourne ..." This medal recognises the bravery of James Patten, a local citizen who risked his life to save the life of his friend Joseph Lowe whilst at sea and was recognised for this act by the Royal Humane Society of Australasia.Medal awarded to James Patten by the Royal Humane Society of Australasia for his bravery on18 April 1890 and presented to him on 21 May 1890. Bronze medal in hard black rectangular case. Lid and base have centre hinge and brass spring button catch. Case is padded and lined with blue silk and has a fitted hook. The round medal has a bronze bar with pin closure, dark blue, braided ribbon with brass swivel mount. The case has a gold embossed rectangular border on the lid and base. Embossed inscription on lid. The obverse shows a woman on the left in long robe placing a wreath on the head of a kneeling man at right, with the five stars of the Southern Cross constellation above his head. A motto is inscribed around the edge. The reverse has inscriptions around the edge, a wreath of two overlapping olive branches, and engraved text.OBVERSE: Embossed around "VIRTUTE PARATUM" REVERSE: Embossed on the medal around the edge "ROYAL HUMANE SOCIETY OF AUSTRALASIA INSTD. A.D. 1874", in the centre "AWARDED TO" Engraved in the centre "James Patten/ 18th April / 1890" CASE LID: "PRESENTED BY / THE ROYAL HUMANE SOCIETY / OF AUSTRALASIA / TO / JAS. PATTEN. / 21ST MAY 1890."flagstaff hill, warrnambool, flagstaff-hill, maritime museum, maritime village, shipwreck-coast, flagstaff hill maritime museum & village, bronze medal 1890, royal humane society of australasia, james patten, medal, australian award medal, commemorative medal, numismatics, life saving, lifesaving, rescue, bravery, drowning, joseph lowe, james ferrier, lady bay, hopkins river, boating accident, certificate of merit, north eastern bight

Early 1900's. "Boiling the billy". The term billy or billycan is particularly associated with Australian usage, but is also used in the UK and Ireland. It is widely accepted that the term "billycan" is derived from the large cans used for transporting bouilli or bully beef on Australia-bound ships or during exploration of the outback, which after use were modified for boiling water over a camp fire. Postcards developed out of the complex tradition of nineteenth-century printed calling cards, beginning with the advent of the Cartes-de-Visite in France. In the 1850s, Parisian photographer Andre Adolphe Eugene Disderi invented a photographic process involving egg white, albumen, and silver nitrate to create inexpensive portraits on paper cards. These photographic Cartes-de-Visites were 2 1/2 (75mm) by 4 inches (98mm) and became a popular, collectable form of "visiting cards" world-wide. Photographers would reprint portraits of famous individuals they had taken at their studios or during travel and sell them as collectable cards. Postcards as we know them now first began in 1861 as cards mailed by private post. In the 1870s picture postcards grew in popularity throughout the United States, Britain, Europe, and Japan. Cards were first permitted to have a "Divided Back," with text written on the left half of a dividing line and the address on the right half, beginning in England in 1902. Around 1900 the first postcards made of "Real Photos" rather than artwork began to circulate, aided in by advances in amateur photography equipment by companies such as Kodak. Kodak also introduced postcard paper for photographic development and photography studios began to offer portraits printed as postcards Many local town, countryside, and architectural images were captured during this period by local photographers, then printed and sold as postcards . Advances in amateur photography all contributed to a postcard craze that lasted from 1900 to the First World War. Postcards were the preferred means to send a quick note, whether across town or across a continent.Postcard with a black and white Photograph on the front and a 'Divided Back ' for the message and address. There are seven men surrounding the billy suspended over a camp fire. The ground has a lot of dead branches around. One man is bending down towards the billy. Two men on either side of the camp fire are carrying either a white bag across their shoulders or the fish in their hands. You can see, that there is some steam also coming out of the billy, which means that its hot. Court Post Card. / this space may be used for correspondence. / The address only to be written here.1900's, boiling the billy , postcards, photographers, england, hungary, america, cartes-de-visite, visiting cards, moorabbin, cheltenham, bentleigh, market gardeners, early settlers, pioneers,

7A Built in 1905 and painted Canadian red & dark brown, this locomotive was issued to the Wangaratta to Whitfield line and saw service on all four lines with most of its service on the Upper Fern Tree Gully to Gembrook line. It was temporarily withdrawn from service in 1958 and returned to service at Belgrave in 1962 for the reopening of this line where it has seen almost continuous service since. 1979 saw the early two-tone green colour scheme applied to this loco as a trial even though it never historically carried it, but its physical configuration was not altered accordingly. It is now painted its original livery of Canadian red & dark brown and will eventually be returned, as far a possible, to its original condition with a low bunker, narrow ash-chute, etc. Loco: 7A In service Saturday, 6th May 1905 Livery Canadian red & dark brown Owner Puffing Billy Gauge 762 / 2' 6" Status Preserved - Operational Service History : May 1905 Wangaratta - initial allocation of a new locomotive May 1905 - Apr 1906 Wangaratta Jul 1906 - Nov 1910 Colac Feb 1911 - Jul 1912 Moe Sep 1912 - Dec 1917 Colac Mar 1918 - Sep 1921 UFTG. Nov 1921 - Sep 1923 Colac Dec 1923 - May 1925 UFTG. Jun 1925 - Aug 1925 Workshops Sep 1925 - Aug 1927 UFTG. Aug 1927 - Feb 1928 Workshops Mar 1928 - May 1928 UFTG. Jul 1928 - Moe Sep 1928 - Mar 1930 UFTG. Apr 1930 - Sep 1930 Workshops Oct 1930 - Oct 1936 UFTG. Nov 1936 - Moe Dec 1936 - Aug 1945 UFTG. Dec 1946 - May 1953 Colac Sep 1953 - Oct 1954 Moe Dec 1954 - Jun 1955 Workshops Nov 1955 - Dec 1957 UFTG. - Stored Feb 1958 - Apr 1962 Workshops May 1962 - Belgrave - In active service at Puffing Billy Railway Belgrave Victorian Railways - Narrow Gauge NA class steam locomotive number 7A Dates that 7A worked on the Gembrook Line Mar-1918 to Nov-1921 Dec-1923 to Jun-1925 Sep-1925 to Aug-1927 May-1928 to Apr-1930 Oct-1930 to Nov-1936 Dec-1936 to Dec-1946 Nov-1955 to Feb-1958 May-1962 - Returned to Gembrook line Oct - 1977 - Transferred to ETRB ownership Steam Locomotive with wrought iron frame with cast iron cylinders7Apuffing billy, 7a, victorian railways, narrow gauge, steam locomotive

Van 3 NUU - Louvred Truck (11) VR Service History 3/12/1900 NWS Built new Vehicle Length 25 feet 2 inches ( 7671 mm) Coupled Length 27 feet 4 inches (8330 mm) Width 6 feet 3 inches (1905 mm) Weight 7 tons Capacity 10 tons Built 1898 - 1911 Number Built 14 In use 5 To be restored None *NUU 3.VA - 3/12/1900 NWS Built new - / /1926 - To NU 3.VA - NU 3.VA - circa 1926 - Modified AC Malco 1/10/1977 - Off Register To ETRB Sec76/3630 RS77/4223 NUU The standard louvre van design for the Victorian narrow-gauge lines, the NUU vehicles were constructed in three batches; the first seven from 1899 to 1901, an eighth in 1906 and the last six in 1911, for a total class of fourteen. They looked very similar to the U vans of the Broad Gauge, although two photographs[1][2] of NUU 1 show that its body may have been white for some time. NU In 1926 the class was relettered to simply NU, with no changes to numbers. NU 4 was scrapped in 1938, but otherwise the class remained intact until 1954, when seven members (2, 5, 7, 8, 9, 11 and 12) were sold to Coulston & Hyder, who dispersed the wagons among locations on the Wangarrata to Whitfield line. As of 1996, vans 7 and 12 were at Moyhu, while van 11 was destroyed by fire in 1978. Wagons 6 and 1 were scrapped in 1957 and 1958 respectively, while in 1954 van 13 was recorded as being sold to the Puffing Billy Preservation Society. In 1977, the remaining vans 3, 10 and 14 were handed over to the Emerald Tourist Railway Board, and removed from Victorian Railways records. The Puffing Billy Railway now posesses vans 3, 8, 10, 13 and 14. Historic - Victorian Railways Narrow Gauge - Rolling Stock - Louvered VanWooden Louvered Van - Made of Timber on a Wrought iron frame3 NUUpuffing billy, 3 nuu, louvered van, 2'6" guage, victorian railways, narrow gauge rolling stock

Wilfred Clarence Busse, born in Chiltern in 1898, His family moved to the region during the gold rush and continued to reside in the area, purchasing land adjacent the Murray River. Busse completed his secondary education at Wesley College in Melbourne then studied law at the University of Melbourne. Busse went on to become a barrister, often in the chambers of Sir Leo Finn Bernard Cussen (1859-1933) a judge of the Supreme Court of Victoria. He worked most of his life in Chiltern as a Barrister and Solicitor and gained the unofficial title of historian of Chiltern, leaving behind several manuscript histories and a scrap book. Busse was an avid fictional writer and in 1930 he published two novels. Time spent on a Victorian station in his early twenties, as well as careful documentary research, informed the writing of his historical novels of bush life. "The Blue Beyond; A Romance of the Early Days in South Eastern Australia” and "The Golden Plague: A Romance of the Early Fifties." "The Golden Plague” won the T. E. Role gold medal for the best historical novel which went on to become a best seller. Busse often drew inspiration for his novels from his younger years living Chiltern. His passion for the region lead him to write “The History of Chiltern” which was published in a serial form in the Chiltern Federal Standard from 1922-1923. Wilfred Clarence Busse was a member of Chiltern Athenaeum (where this object is now held) up until his death in 1960, he is buried in the Barnawartha Cemetery. Likely Silverplate due to the intensity of the tarnishing of the metal, with indecipherable hallmarks on the handle, the method of production and the maker mark are unclear. The delicate swirling fernlike motif on this particular butter knife appears to be stylised in either Art deco the decorative arts and craft style favoured in Europe between 1880-1930's and less representational than examples of Australiana flora captured in silversmithing from the 1850's onwards produced in Australia. It is likely that those producing silverware at the time would be drawing on the decorative arts movement while incorporating elements of the natural beauty in the flora of their newfound environment into the silverware they produced.Wilfred Clarence Busse was of social significance to Chiltern, he helped to document the cultural story of the area in his published works "The Golden Plague" and "The Beyond Blue" by recounting his own upbringing in a bush lifestyle. He was a respected Barrister and was the unofficial historian of the Chiltern Athenaeum for many years. This butter knife represents a window into the domestic life of this person who was well loved in the area, and it continues its relationship to Busse as well as Chiltern by being held within the very collection he helped to maintain in his life. Domestic objects tell us the story about how people lived, objects of daily use hold particular meaning in that they can tell us the story of an individual, we feel closer to their life and habits, it humanises and connects us across time. Wilfred Busse ate food, he buttered his bread and he did it with a wonderfully decorated silver butter knife.A tarnished metal butter knife with engraved and embossed spiral fern details on the knife and handlesilverware, wilfred clarence busse, busse, chiltern, chiltern athenaeum, federal standard, t. e. role, "the blue beyond, a romance of the early days in south eastern australia”, "the golden plague: a romance of the early fifties.", "the golden plague”, wesley college, university of melbourne, sir leo finn bernard cussen, supreme court of victoria, gold rush, murray river, “the history of chiltern”, silversmithing, decorative arts, floral, flora, australiana, australian flora, arts and craft movement, australian silver, cussen, cutlery, butter knife, knife, silverplate

Wool picking machine designed to separate locks of wool before it is carded and spun. The picker opens the wool’s locks which makes it easier to send the fleece through a carding machine. It does this by teasing the fibres (which can also be done by hand just by pulling the lock structure apart), but a picker does this in bulk and much quicker than what can be done by hand. It is possible to spin fibres directly after the picking stage; however, it is usually more desirable to card and blend them with other fibres. Typically, at a textile mill, a picking machine can separate enough lengths of fibre for a full day’s work after just a single hour. It will also help to remove any vegetation matter or other any unwanted elements that may be present in the wool. The quality of the casting on this machine suggest that it was made locally, either in Australia or New Zealand. Mike Leggett, the donor of the machine, acquired it from New Zealand where the seller said it had been used by his father to pick wool to make hand stuffed horse saddles. Mike attempted to used it a couple of times to pick alpaca hair, but the speed of the attached motor caused damage to the fibres. The motor is thought to be an added attachment, sometime around the 1960s judging by its age, while the machine itself is thought to be dated around the 1920s. The machine works by inserting wool through the rollers. Initially there was a conveyor belt feeder system which was powered by the handle on the side. This conveyor belt has been removed however, most likely due to age and deterioration. Wool is now fed through the initial teeth and is met by a spiked rotating drum which works to separate the fibres. The separated fibres would then complete a loop of the drum before being dispatched somewhere below, around where the motor presently sits, at a rapid rate of speed. Typically this wool will be collected in a closet or large catchment area, as can be seen from the 8:47 minute marker in the linked video (link - https://www.youtube.com/watch?v=kMjx-t3tH3A). It is not apparent how the wool is collected with this machine. Red and green machine with four green legs currently attached to a wooden pallet with wheels for easy movement. The green legs lead up to a red central circular barrel from which many attachments are present. Also present on the wooden pallet is a small black motor which is attached by a rubber belt to the central drum inside the red barrel. The belt spins the wooden drum via a dark red circular plate attached to the side of the drum. On the other side of the red barrel, a green handle extends for turning the picker’s conveyor belt feeder system. Two green walls extend forward from the central red barrel, guarding either side of where the conveyor belt would have been. At the start of these walls is a wooden cylinder, which the conveyor belt would have wrapped around, followed by two interlocking gears which rotate and accept the fed wool. The red roof extends over the central cylinder from here, securing the wool inside and protecting hands from the heavily spiked internal wooden cylinder which rotates and separates (picks) the wool. Extending over the top of this red roof is a green handle which reaches to the back of the machine (not pictured). Here it accepts a weight to ensure pressure is always present for the initial feeder interlocked gear teeth. There are two large gear cogs on the rubber belt side of the machine and 3 small gear cogs on the handle side of the machine, all coloured green. A green handle is also present at the rear of the machine, below the location from which the weight is hanging. A power cable extends from the motor and there are two adjustable metal rods on the top of the machine, the purpose of these rods is presently unknown. Black texter. On top of drum. Wording: HG3707 Wording. Imprint: BRACEWIND BLYN On motor. Wording AEIwool picking, textile manufacturing, wool processing

Originating from Scotland pre-1950, this wool winder is ornately decorated featuring a male figure at its peak and a cherub at its base. Wool Winders are practical objects typically with minimal decoration; however, Wool Winders with ornate design features do exist. Scrimshaw (whale ivory) was a popular choice of material in the 18th and 19th century. It is smooth, preventing yarn from getting caught when unwinding, as well as having artistic beauty. Wool winders require a heavy base, as to not topple over when in use. It is popular to decorate these bases on more elaborate winders, such as shown in this example. The bows featured to tie the wood segments together is another feature of more elaborate models of wool winders, also highlighted in this example. This winder began life in the possession of Annie Crawford. The Crawford name has a strong connection with the town of Paisley, Scotland, and its Woollen Mills. The Crawford name can be seen working at the Woollen Mills in the 1851 Scotland Census, with Robert and his brother’s James and John working as Wool dyers. Their father Alexander also worked as a Loom Weaver. The winder immigrated with Annie when she, her husband and 3 children travelled to Australia, ready to start a new life. Most of their possessions were left behind in Scotland. This winder accompanied the family on their journey; so it stands to reason that the winder was special to them. Annie Crawford passed the winder onto her eldest daughter Joan Crawford. Joan did not have any children and so she passed the winder onto the eldest female grandchild, Fiona Crawford. Fiona Crawford continued the connection of the Crawford name with textiles, with an exhibition titled "When you go looking for me, I am not there". Utilising medieval embroidery tradition of ‘Punto Assisi, the exhibition was a reflection on the lack of women recorded in history, particularly their contribution to the domestic arts. Her work investigates both the absence of women while also honouring the unknown female makers of this now highly desired art. The Wool Winder was donated to the National Wool Museum in 2021 by Dianne Crawford, the sister of Fiona Crawford. Umbrella swift style wool winder made of metal, wood, and ribbon. Decorated at its highest point with a sculpted man standing on one leg, holding what is perhaps a rolled newspaper as though he may be bidding at an auction. Or perhaps he is holding a hank of wool. The man stands upon a three-tier platform of decreasing size and design which leads to the central metal shaft. At the base, the winder is decorated with an engraved cherub. Both figures have a small hole in one of their hands, indicating that they originally held something. Unfortunately, it is not known what this is. From the central metal shaft, this winder has 2 rows of 6 arms radiating out. These arms cross in the middle to form an X. These arms are also connected horizontally with additional arms which cross. This all forms an intricate web design, tied together with ribbon. The size of the web these arms create is adjustable, to accommodate yarns of different length. Beneath the second row of arms is a locking screw which holds this row at the desired height and width. This entire top section, beginning at the central metal shaft, can be unscrewed from its base for easier storage. The base begins in a wooden circular shape growing into a smaller ornately designed raise on which the cherub sits. From the head of the cherub the central metal shaft begins.paisley, scotland, wool winder, immigration

Study of Winter's Swamp commissioned by BEN and completed by BHS. The swamp was named after one of the first European settlers in the district. Winter Swamp LAT -37 32 LONG 143 47, Parish of Dowling Forest, County of Grenville Winter Swamp, on the southwest corner of Ballarat West Town Common, was not included in the original proclamation of the Common in 1861. However, being marshland, it was not considered suitable for grazing, so was added to the Common soon after 1861. Winter Swamp is a large wetland with native and exotic pasture significant for wildlife. John Winter (Jock) was born in Berwickshire, Scotland. He married Janet Margaret Irving the daughter of Robert Irving, advocate, Bonshaw, Dumfries, Scotland. Winter died in Ballarat in 1875 and was buried at the Ballaarat Old Cemetery. He took up the run Bonshaw from 1841; Leigh River Buninyong 1842-46; Junction, Delatite, March 1851 to September 1862; with sons: Carag Carag and Corop, April 1857 to September 1872; Colbinabbin and Stewart’s Plains, April 1857 to December 1872; St Germains February 1867 to March 1871. (The name became Winter-Irving in 1890). Mr John Winter, who died on August 22 at the age of 72, was a man of some note it the mining community of Ballarat. He was a self-made man, and one of our oldest colonists, it being over a quarter of a century age since he took up county about Ballarat and settled at Bonshaw. He died very rich. It is calculated that if he had retained an interest in all his runs, his income must have been not less than £10,000 or £50,000 a year. Some eight or ten years ago he sold his Bonshaw pre-emption to the Bonshaw Gold mining Company for £20,000, and a few years later the ground belonging now to Winter's Freehold Company brought him £50,000 more, the payment being made at the requisition of the deceased in sovereigns. In these relations Mr. Winter has been closely identified with the mining industry at Ballarat. The deceased was a native of Lauder, in Berwickshire, and landed in Victoria several years before the gold discovery.The principle task of this project was the delivery of a report outlining the history of European settlement in the Skipton and Cardigan/Ballarat districts as pertinent to the use of and impact on the natural environment of the two reserves Skipton Common and Winter Swamp. The report was delivered in digital form only. The report, upon completion, was presented to the Network’s Committee in order to discuss the project. The report identified and described the uses of Skipton Common and Winter Swamp, and their impacts. In particular, this report examined farming/grazing (official and informal), mining, vegetation removal (including the removal of woodlands for timber, grasslands for pasture improvement) & use of riparian areas for access to water and timber removal. Recording the more benign and environmentally friendly uses such as picnicking, community activities, nature walks and the roles of organisations such as Field Naturalists’ and Bird Observers’ clubs, school and scout/guide groups will be relevant in helping to depict overall community attitudes towards the reserves; e.g.: has the Common generally been viewed as little more than a grazing paddock and fire hazard; has Winter Swamp always been the unknown natural asset that seems to have been its lot for at least the past 40 years? In this regard, the more contemporary history of actions surrounding the use and management of the reserves is of particular interest, in view of the extant evidence at both reserves; e.g. the actions of the Shire of Ballarat in the 1980s in establishing Winter Swamp as something of a competitor to Lake Wendouree but with a more environmental bent (although almost none of the plants used are indigenous species, but that is part of the story); the trotting track constructed on Skipton Common in the 1960s following representations to Premier Henry Bolte and the cropping of the western section of the Common to raise funds for the town’s new swimming pool, the fertilizing of the land putting an end to the native grassland vegetation. There are obviously multiple sources of information to source in preparing the report, however sources that the contractor is specifically requested to consult are the Skipton Historical Society, the former Skipton Common managers (specifically Graeme Pett), the Cardigan Windermere Landcare Group and the Learmonth Historical Society (believed to hold many of the former Shire of Ballarat’s records pertaining to the Council’s role as the Committee of Management for both Winter Swamp and the Ballarat West Town Common – Winter Swamp was split between 2 separate Crown Land tenures). The contractor is also encouraged but not required to utilise community newsletters, such as the Skipton Community Newsletter, to publicise and seek information about the project. Skipton Historical Society (Mary Bradshaw) contacted on Thursday 12 June 2.30pm. Mary lived on a farm out of Skipton but is currently living in the township. She remembers walking along the creek of the Common especially in spring and autumn in bare feet and that it was a very pretty place. There were a few snakes around the waterway in summer. People put cows and a couple of horses on the commonage to graze. Graeme Pett has always lived close to the Common and would know a lot about it. Other possible contacts would be Nicole Petress, Secretary of the Progress Association, and the Corangamite Council, Camperdown. Digital images of Winter's Swampwinter's swamp, ballarat, john winter, ballarat environmental network, mullawullah

Change the Rules is an ACTU campaign starting in 2018 targeted at regaining fairness around right to strike, work, wages, job security, penalty rates, taxation (especially businesses that pay zero tax), equity for working women and younger workers. Nationally, Change the Rules rallies were held on Wednesday 9 May 2018. A contingent from Ballarat travelled to Melbourne by train and participated alongside 100,000 other unionists in the CBD. Photos: 1. Rally - Melbourne CBD - Pictured left to right, Moses, Doug Stewart (CFMEU/Trades Hall), Gabriel Waldron (Trades Hall staffer), Michaela Settle (State ALP candidate for the seat of Buninyong), Sarah De Santis (State ALP candidate for the seat of Ripon), Brett Edgington (Secretary, Ballarat Regional Trades and Labour Council. 2. Rally - MUA and other comrades marching. 3. Ballarat Railway Station - Comrades gathering to make the train journey to the rally. Gabriel Waldron (Trades Hall staffer) in the foreground and Michaele Settle in black jacket. 4. Ballarat Railway Station - Comrades gathering to make the train journey to the rally. Tracey Brown, HWU organiser, pictured in red puffer jacket. 5. Ballarat Railway Station - Comrades gathering to make the train journey to the rally. Gabriel Waldron (Trades Hall staffer) and Tracey Brown, HWU organiser, pictured in red puffer jacket. From the Change the Rules website: "Australian Unions are campaigning to change the rules so that working people have more secure jobs and better pay. Right now, big business has too much power. A third of them aren’t paying any tax. And, too many big businesses are in a race to the bottom on wages and job security. As a result, 40% of Australians are in insecure work and wages have flat-lined. We need a wage rise and secure work. We need to change the rules to give all working people the basic rights they need to improve their living standards. We are building a powerful movement to change the rules, and we need you to join your union to be part of it."Significant to nationwide union campaigning and to living and working conditions of all Australians.Electronic photographs.btlc, ballarat trades hall, ballarat trades and labour council, union campaigns - change the rules, actu, rallies, wages, penalty rates, workers' rights, women, equal pay, right to strike, taxation

The homes were presented by the donors for the use of the Old Colonists' Association of Ballarat. The homes fulfil the original 1888 aim of 'aid and assist indigent or suffering old colonists' and 'to provide the shelter of a home for old and indigent pioneers of the gold fields, their widows, or anyone connected with the association'. From the minute books: "Mr and Mrs F.J. Williams, both natives of Ballarat, offered to build a cottage on the Association's ground at Perry Park [now Charles Anderson Grove] something after a style of the Hassell Homes. That offer was immediately followed by another from Mr S.W.J. Clark, a member of the Council. Both offers were promptly and gratefully accepted." The Old Colonists' Association Ballarat Inc. is a not for profit charitable organisation providing accommodation for elderly people. It manages over 40 Home retirement village at Charles Anderson Grove Ballarat. Accommodation is offered at significantly below market rates. It has been providing low cost accommodation to the elderly since the 1920s. The Association Council overseas the running of this facility on a voluntary basis. One of the first objectives of the Association was "to provide the shelter of a hose for those Pioneers of the Goldfields whom the reverses of fortune have deprived of the means of procuring the comforts of life in their declining years." The first home at Charles Anderson Grove was built in 1925. Before that time the Association provided relief for needy pioneers. relief included monthly monetary payments, loads of firewood, medical assistance and distribution of Christmas boxed of groceries to deserving pensioners, and in some cases payment of burial costs. == Purposes == ::a) The dominant purpose of the Association is to give public benevolent relief as a charity, but providing independent living accommodation in our Retirement Village for person in need who are over 65. ::b) To raise funds by membership subscription, commercial and residential rents, donations, gifts and voluntary work, for the purpose of providing direct relief of poverty, distress, misfortune or helplessness. ::c) To maintain the important heritage and ongoing viability of the Old Colonists' Association.Two black and white images of Old Colonists' Association homes from a Special Christmas edition of the Courier in 1925. The top image shows 'Clark Cottage', erected by S.W.J. Clark, and the lower image shows the 'Williams Cottage' erected by Mr and Mrs F.J. Williams. The cottages are locate in Charles Anderson Grove, Ballarat. old colonists' association ballarat, old colonists' club, charles anderson grove, clark cottage, williams cottage, perry park, s.w.j. clark, f.j. williams, old colonists' assocoation

The Adult Education Association Drama Group originally staged Liliom at the Union Theatre, University of Melbourne on Saturday, 3rd November, 1951, at 8pm and on the 8th November it was re-staged by them as the opening production of the The City of Heidelberg Repertory Company, now known as the Heidelberg Theatre Company Inc. in the Eistedford Hall, Ivanhoe. Sketch for Prologue, Fair Ground Scene, and Sketch for Scenes 2 and 3, The Tin Type Shop, for Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951. Resulting sets were transported to the Eisteddfod Hall, Ivanhoe and used in the opening production in January, 1952 for the newly formed City of Heidelberg Theatre.Sketch for Prologue, Fair Ground Scene, and Sketch for Scenes 2 and 3, The Tin Type Shop, for Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951. Resulting sets were transported to the Eisteddfod Hall, Ivanhoe and used in the opening production in January, 1952 for the newly formed City of Heidelberg Theatre. Sketch for Prologue, Fair Ground Scene, and Sketch for Scenes 2 and 3, The Tin Type Shop, for Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951. Resulting sets were transported to the Eisteddfod Hall, Ivanhoe and used in the opening production in January, 1952 for the newly formed City of Heidelberg Theatre Company. Photo from unidentified newspaper of the director of Liliom by Ferenc Molnar, Joy Youlden.an Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951 and restaged at the Eisteddfod Hall, Ivanhoe as the opening production in January, 1952 for the newly formed City of Heidelberg Repertory Group. The Adult Education Association Drama Group performers, backstage workers and technicians staged the play at the Eisteddfod Hall in Ivanhoe. Local Councillor E.A. Carlyle attended and addressed the audience. Reg Rudd is described as director-producer. He announced another Repertory evening in February. Inagural production under the name of The City of Heidelberg Repertory Company, now known as the Heidelberg Theatre Company Inc., staged in the Eisteddfod Hall, 14 Ivanhoe Parade, Ivanhoe, Victoria, Australia on the 8th November, 1952.All items in good condition. Original and one colour photocopy of hand drawn sketches for the Prologue and Scenes 2 and 3 settings in blue biro with watercolour washes on ecru paper. On the back side of paper with scene sketch of Act 1. Photo – Joy Youlden - Small black and white cutting from unidentified newspaper on newsprint which has yellowed, Cutting has been glued onto ecru A4 paper sheet. Sketch for Scene 6, The Land Beyond, and Sketch for Scene 7, Julies House 16 Years later, an Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951. Resulting sets were transported to the Eisteddfod Hall, Ivanhoe and used in the opening production in January, 1952 for the newly formed City of Heidelberg Repertory Group. Sketches for Scene 4, The Railway Embankment, and Sketch for Scene 5, Behind The Shop, an Adult Education Association Drama Group production at the Union Theatre from 1st – 3rd November, 1951. Resulting sets were transported to the Eisteddfod Hall, Ivanhoe and used in the opening production in January, 1952 for the newly formed City of Heidelberg Repertory Group. Handwritten detail of scene numbers and names, name of producer, theatre company AEA (Adult Education Association) Drama Group Show and place, Union Theatre.eistdford hall, fern matthews, city of heidelberg repertory group, adult education association drama group, liliom, liliom by ferenec molnar directed by joy youlden, 1952, 1

A dress believed to have belonged to a family member of Mrs. Jessie Somerville Singer (nee Watson), 1849-1935. As the dress dates from circa 1850, it could have belonged to someone from one generation previous, possibly her mother Elizabeth Watson. Jessie Somerville Singer was the second wife of Mr. Edward Singer (1829 – 1904) of 'Somerville', New Street, Brighton Beach. Edward's first wife, Maria, died in 1861; their son William died approximately 12 months later. In the 1861 census of North Bradley England, Edward was recorded as a carpenter journeyman. After these tragedies Edward, then aged 30, left England to start a new life in Australia. He emigrated as an unassisted passenger on the steamship 'Great Britain', departing from Liverpool and arriving in Melbourne in April 1863. Edward worked as a joiner and overseer for a timber merchant in Franklin Street, Melbourne. In December 1869 he bought a property at 1115 Hoddle Street, East Melbourne, between Hotham and George Streets. At some stage he also acquired 1117 Hoddle Street. He also owned another property in Rushall Crescent, North Fitzroy. On 10 July 1873 Edward married Jessie Somerville Watson, the daughter of William Watson and Elizabeth Martin. They lived at Hoddle Street for some years, later moving to Rushall Crescent, North Fitzroy before in the 1880s settling in what was then the semi-rural suburb of Brighton. Edward is recorded as working there as a joiner. The house 'Somerville' was built by the Singers in circa 1880 at 100 (now 78) New Street, Brighton. The family moved there upon Edward's early retirement and lived there until 1941. 'Somerville' was sold, the house demolished and the land subdivided in the 1930s. Edward and Jessie appear to have lived comfortably. Edward died on 30 July 1909. Jessie died on 11 November 1935. Many members of the Singer family have lived in and around Brighton since Edward and Jessie first made their home there. The donor, Mrs Dorothy Constance Cook, was Jessie's granddaughter.A silver and brown striped silk taffeta dress comprising separate bodice (.1) and skirt (.2). The dress features a high round neckline fastening down the centre front with concealed hook and eye closures with ten (two missing) decorative brown silk velvet buttons. The front and back feature a briown silk velvet ribbon that forms a v shape from the shoulder to the centre front just below the bust and centre back below the shoulder blades. From the ribbon falls a brown and silver silk fringe approx seven cms deep. The bodice is shaped and boned into the waist and finishes in a deep v over the stomach. At the back the bodice is shaped to the body finishing in a smaller curved v over the small of the back. The sleeve attaches to the bodice at the true shoulder and falls in a pagoda sleeve to the mid forearm. The sleeve is also trimmed with brown silk velvet ribbon near the base of the sleeve. The full skirt is pleated at the waist, falling to the floor, longer at the back to accommodate the crinoline.somerville, new street brighton, jessie somerville singer, edward singer, elizabeth martin, brighton, 1850s

Harry van Assche was the organiser of the RVIB's auxiliaries during the 1930's and until his death in 1942. In this letter to the Auxiliary Secretary's, Stan Hedger (Superintendent and Secretary for the RVIB) advises of Mr van Assche's death and the alternative arrangements to keep the work ongoing. Attached to the top of the letter is a newspaper article from The Sun (22/7/1942) paying tribute to this work. The letter reads: Dear Auxiliary Secretary, You will all be distressed and grieved as we are over the untimely death of our beloved friend, Mr van Assche, and I am enclosing a tribute to his memory. I think I was in a better position than anybody connected with the Institute for knowing his real worth and of the noble way in which he faced life anew in his brave unflinching determination to conquer disabilities of blindness. How well he succeeded is evidenced in our wonderful Auxiliary movement, in the multitude of friends he made wherever he went, in his never complaining attitude towards his affliction. We are heartbroken over what to me is an irreparable loss, for in my life-long experience among the blind, I have never met his peer. Other representatives will carry the torch lit by him (and he would not have liked to have thought we would fail him), and we feel that Auxiliaries will continue to do their best in memory of one who did his best for those who were sightless like himself, and for the cause for which they have so wonderfully worked in response to his appeals. Mr van Assche's Secretary and friend, Mr Webber, will act for the present, and I am sure you will all do your best to encourage him and those who may accompany him, in their desire to express the gratitude of everyone connected with this Institute for your loving kindness to Mr van Assche and to our blind babies, children and adults, who now depend upon you even more. With our kindest thoughts, Yours faithfully, Superintendent & Secretary1 letter with newspaper cutting pasted to top left edgeroyal victorian institute for the blind, auxiliaries, harry van assche

These meetings were held at the Kooyong office and the minutes include Present, Chair, Apologies, Minutes, Matter arising from minutes, Correspondence, Life governors, Election of members, Nominations, Reports from Regional Blind Members groups, White Cane Day October 15th promoted. Some highlights include: 3/12/1982 the film, 'A world that is dark', which was made by AFB for television release is now available on video. 31/8/1984 the Blind members' brochure includes sections titled 'Yesterday, Today and Tomorrow' which outlines the history, present position and the aims for the future of the AFB, 'Information about Blind Members' and Blind Members' Council', List of AFB homes and centres' and 'An invitation from Bryan Sitlington to be a Blind Member accompanied by an application form. It will be available to all visually impaired people, their family and friends, AFB staff and suitable for distribution at doctor's surgeries. 14/12/1984 it was reported 29 new Blind members were elected at the September meeting and the 1,000th member was among them. 8/6/1984 Mr John Blanch reported that the General Committee had approved, although rather reluctantly, Mr John Wilson's resignation and had appoint Mr John Cook as his successor. 13/9/1985 Mr John Blanch reported that following Mr Pat Lightfoot's resignation he had contacted Mr John Wicking to offer him the position of sighted representative on Blind Members' Council. John Wicking had been approached for role on the BMC however he was unable to attend Fridays. It was moved to move the meetings to the last Monday of the Month, after approaching John Wicking again. Council members agreed that if John Wicking took the position it would be good as would have been held by Pat Lightfoot and John Wicking, both past Presidents of AFB. Mrs Margaret Canavan and Mr Alan Cooper had been selected to attend a garden party at Government House with Her Majesty the Queen and His Royal Highness the Duke of Edinburg on Thursday March 6. Minute book for Blind Members Councilassociation for the blind, blind members council

In architecture a corbel serves a decorative as well as structural function as a solid piece of stone, wood or metal that is built into a wall and juts out like a bracket to carry a weight. The smoothly shaped corbel was formerly built into the external wall of the lighthouse facing the sea. It consists of two cupped, rounded forms, one bigger than the other, which are attached to a damaged flat base. Made of cast concrete, it is the same fabric as the lighthouse and shows evidence of white paint on its surface. An early architectural drawing of the tower shows the corbel as a projecting, decorative moulding underpinning the balcony floor associated with the auxiliary light. It indicates the original corbel was a much larger architectural feature which started as a solid rectangular block and terminated with a smaller block and then two tapering, rounded forms. Prepared in mid-1888, the architectural drawings for the lighthouse by Victorian Public Works Department architect, Frederick Hynes, were amended in 1888-89 to provide for an auxiliary light, which comprised an arched opening and door in the tower wall below the lantern room and small balcony. In the late nineteenth century all of Victoria’s lightstations installed a red auxiliary light to serve as a danger warning to mariners sailing too close to shoare. Existing lightstations, like Cape Otway, built a pavilion below their lighthouse facing out to sea, but newly constructed towers like Point Hicks and Split Point incorporated them into their designs. The efficacy of auxiliary lights became a controversial issue and all were discontinued on 1 January 1913. The Point Hicks balcony was removed from the face of the tower in 1971 after it was found to be badly rusted. This resulted in the complete removal of the corbel, from which the rounded moulding and part of the base survives. The auxiliary light and door were subsequently removed in 1975 and glass blocks now fill the opening. Cape Schanck Lightstation retains four cast iron brackets from its auxiliary light balcony which are currently stored in the lighthouse on the ground floor. No other architectural fabric associated with the auxiliary light has been identified at Point Hicks Lightstation. The fragment of corbel has first level contributory significance for its historic and architectural values as a relic of the auxiliary light and as an original moulding from the fabric of Victoria’s first concrete lighthouse.A masonary corbel.

The Wodonga Hotel was constructed in 1940 at a cost of £10,000. It is now called Elgins Hotel. It was established after the transfer of the licence from the Halfway Hotel. This was the result of a lengthy hearing before the Licensing Board over two days in December 1939, There was some opposition from established guest house keepers and hotelkeepers. G. A. Adams, owner of the Carriers’ Arms Hotel was refused a hearing as he was not a resident, so Rachael Spence his manageress objected on the ground that it would do her hotel a lot of harm. Mr Luke Murphy represented the applicants, Irene Weatherall and Lena Pickering. He stated that the new structure would be of brick, cement and iron and contain 22 rooms. The site was near the municipal sale yard and near the railway station, and, he pointed out the trucking industry, which he believed to be larger than any other in Victoria, outside of Melbourne. The hearing was told of the bad state of the Half Way Hotel, having been there for almost 100 years. Luke Murphy was quoted as saying “If Hovell were here he could give evidence on that.” The lack of accommodation and quality accommodation at Wodonga hotels was frequently heard of. Costa’s Wine Café had very excellent accommodation for but only five or six people. The lessee of the-tea rooms at the municipal saleyards, also gave evidence. Mrs Lowden said that on sale day she served up to 130 dinners in addition to 10 or 20 breakfasts, and almost continuous light lunches. She did not think a hotel would provide a needed facility for patrons of the saleyards. In April 1940 the application was granted on the condition that premises were erected within 42 weeks. The hotel was used for soldier accommodation during World War II and experienced a boom period when Wodonga saleyards were located across the road. Irene House behind the pub also was constructed in the 1970s when Albury-Wodonga had been identified as a National Growth Centre by the Whitlam Labor government. After running the hotel for 5 generations, the Weatherall Family sold the business in 2021.These images represent an early business in Wodonga . 2 photos of the Wodonga Hotel and 1 newspaper advertisementwodonga businesses, a. e. costa, wodonga pioneers, early wodonga businesses, wodonga businesses high street