This horse-drawn, two-wheeled cart with a tank, is known as a Furphy Farm Water Cart that was made in Shepparton, northern Victoria, c. 1942. John Furphy (1842-1920) was born in Moonee Ponds, in 1842 to Irish immigrant parents and subsequently raised in the Yarra Valley before the family moved to Kyneton in central Victoria, where he completed an apprenticeship with the firm Hutcheson and Walker. Murphy began operations of his own at a site on Piper Street in Kyneton in 1864. He relocated for a business opportunity and founded the first blacksmiths and wheelwrights shop in the newly surveyed town of Shepparton in 1873. Furphy invented many farming tools and machines including a patented grain-stripper, and won awards at the 1888-89 Melbourne International Exhibition. His most famous invention is the Furphy Farm Water Cart, designed in the 1880s, at a time when water for most households and farms was carted on wagons in wooden barrels. The Furphy’s water cart is a single item that combines a water metal tank and a cart. The design of the cart was simple yet effective, and became popular very quickly and established itself as a vital piece of farming equipment. The water cart has had a number of words cast into its ends over many years. References to the foundry’s location in Shepparton, as well as advertising of other products also manufactured by J. Furphy & Sons were present on the ends. However, the most significant set of words to feature on the tank, was a poem encouraging continual improvement: ‘Good Better Best, Never Let it Rest, Until your Good is Better, And your Better Best’. During The Great War (1914-1918), the water cart was used by the Australian militarily at a large AIF (Australian Imperial Force) camp in Broadmeadows (Melbourne) where thousands of men were camped for months, before being transported aboard. Furphy Water Carts provided water to the troops, and were usually placed near the camp latrines, which was one of the few places the troops could share gossip and tall tales away from the prying eyes and ears of their officers. The water cart drivers were also notorious sources of information, despite most of their news being hearsay, or totally unreliable. By the time the men of the AIF were in engaged in combat on the Gallipoli Peninsula and the Western Front, the carts used for water supply had no markings and became simply referred to as Furphys. This owed as much to the coining of the term ‘Furphy’, Australian slang for suspect information or rumour. After a number of decades as principally a soldier’s word, 'Furphy' entered the broader Australian vernacular and was used mainly by the political class until recently when the term was taken up by a Australian brewer as a beer brand. This Furphy Water Cart was purchased by Friends of Flagstaff Hill in 2014. The support of local individuals, organisations and businesses enabled its restoration and later its installation alongside the existing late-19th century water pipe stand and 1940s hand pump The Furphy Farm Water Cart is of historical significance as it represents a famous Australian time-saving and energy-saving invention of the 1880s, replacing the labour intensive activity of collecting and dispensing water from barrels and casks on the back of carts. The water cart’s connection with manufacturing companies J. Furphy & Sons and Furphy Foundry are significant for being early Australian businesses that are still in operation today. Furphy carts are of military significance for the role they played during The Great War (1914-1918) in Australian army camps, and theatres of war in Europe and the Middle East, to supply the AIF troops with fresh water. A wooden framed, two-wheeled, horse-drawn cart, fitted with a horizontally mounted, cylindrical metal tank. The tank is made of rolled, sheet steel with a riveted seam, and cast iron ends with cast iron ends. The spoked metal wheels have fitted flat iron tyres and metal hubs. A metal pipe is joined to the outlet. The tank is silver coloured, the ends, wheels and trims are crimson, and the script lettering on tank sides is black. There are inscriptions on the tank, ends, and hubs. The water tank was made in 1942 in Shepparton, Australia, by J. Furphy & Sons and has a capacity of 180 gallons (848 litres). Hub perimeter, embossed “J. FURPHY & SONS” “KEEP THE / BOLTS TIGHT” Hub centre embossed [indecipherable] Tank, each side, painted “J. FURPHY & SONS / Makers / SHEPPARTON” Tank ends, embossed – “FURPHY’S FARM WATER CART” “BORN ABOUT 1880 – STILL ‘GOING STRONG’ 1942” “j. FURPHY & SONS / MAKERS / SHEPPARTON - VIC “ “S - - - - - L MANUFACTURERS” [SPECIAL] “SPIKE ROLLERS” “SINGLE TREES” “PLOUGH WHEELS” “IRON CASTINGS” “LAND GRADERS” “STEEL DELVERS” “CAST IRON PIG” “CHAIN YOKES” “GOOD – BETTER – BEST / NEVER LET IT REST / TILL YOUR GOOD IS BETTER / AND YOUR BETTER – BEST” Image [Stork carrying a baby] above shorthand, transcribed "Produce and populate or perish" Image [Furphy Pig Feeder] beside ‘Cast Iron Pig’ Shorthand, transcribed “"Water is the gift of God but beer and whiskey are concoctions of the Devil, come and have a drink of water"warrnambool, flagstaff hill maritime museum, water cart, furphy cart, furphy tank, furphy farm water cart, furphy, john furphy, john furphy & sons, furphy foundry, kyneton, shepparton, mobile water tank, jinker, hutchinson & walker, blacksmith, farm equipment, implement maker, tool maker, horse drawn, stork and baby, good, better, best, barrel, tank, first world war, wwi, eastern front, gallipoli, j furphy & sons

This sturdy, deep hat box has been carefully constructed to give the contents utmost protection in the roughest of travel conditions. At the same time, attention to detail and quality of materials makes the box an attractive, desirable and useful piece of luggage. The supports inside the hat box show that the hat’s brim dipped at the front and back in the popular 1920s Homburg or Derby style. The hat box was likely to have been purchased, complete with its fashionable hat and personalised with the initials ‘G.M.’. The five shipping labels on the hat box tell that the owner traveller overseas with it on more than one occasion. The owner had first travelled with the shipping line Peninsular & Orient Steam Navigation Company, and may have been one the first Australian passengers in 1932, as the remnant of label on the base reads Sydney. The owner later voyaged under the company’s new name of P & O. and travelled from at least one of the voyages from Melbourne to London The square label, with “P & O” and red printed “M” in centre of circle, refers to alphabetical organisation of baggage by surname, connecting the owner ‘G.M.’ to the owner’s voyage with P & O. The P & O shipping line’s early beginnings started with the partnership of London ship broker Brodie McGhie Willcox and Scottish sailor Arthur Anderson in 1822. The partnership was joined by Irish shipowner Captain Richard Bourne in 1835 and they began operation as the Peninsular & Orient Steam Navigation Company with a service between London- Spain - Portugal. In 1932 the company expanded to include Australia with its passenger services departing from Sydney; in 1840 the company was incorporated. After various take-overs of other shipping lines and businesses, it operated under the name P & O. JOHN BRUSH The hat box was made by Australian saddle designer and maker, John Brush, Sons & Co. Brush began his saddlery trade in Roma, Queensland, His designing process included consulting with the men who rode and worked the horses. He was described in the Sydney Morning Herald of December 15, 1897, as a leading Sydney saddler, well known and reliable, with every kind of English and Australian saddle on view. John Brush established his business in 1840, operating from 371 George Street Sydney. A catalogue from that era jointly advertises John Brush (371 George Sty Sydney) and Butlers & Brush (432-4 Queen Street Sydney), both under the name of Edward Butler & Co. Pty. Ltd. The catalogue included saddlery, harness equipment, riding wear and travel goods, and strongly promoted the Wienkek made saddles, which he distributed Australia wide. John Brush, So & co. advertised its ‘new’ address in 1887, as 403 George Street Sydney. In 1898 Brush made a side-saddle for a customer, a design popular with gentlewomen of the era. The business was still operating over 100 years later, producing a catalogue in the 1950s.This early 20th century hat box is significant for being one of a kind in our Collection. Its fitted design shows the shape of the hat, dating it from the 1920s men’s fashions. The hat box is significant for being a high quality hat box made in Sydney, Australia by prominent and successful early colonial saddler and leather goods business, John Brush, Son & Co. The labels on the outside of the hat box are also significant, representing the prosperous lifestyle of an Australian traveller who purchased quality goods and cared for them. The traveller was able to depart from firstly the Port of Sydney and later the Port of Melbourne. Hatbox, oval shape, brown leather, strong, sturdy construction, six pieces, and metal lock on base. Wide lid, then tapers to a narrower base that has a red leather trim. Brown velvet fabric lining inside and covers some accessories. Other internal accessories are trimmed with plain red paper and blue and white striped paper. The lid has two attached leather tabs and a leather handle and underneath it has a drawstring liner and oval, gold-lettered maker’s label. The internal oval box has a leather retention strap and brim support. Separate moulded brim support is included. A detached leather strap with catch is inside the base. Inscriptions are stamped on the lid, printed on the maker’s label, attached as printed paper labels to the lid, sides, and under the base. Maker is John Brush, Son & Co. of Sydney. The owner’s initials “G.M” are embossed on the lid.Stamped on lid “G. M.” Label, oval, inside lid “JOHN BRUSH, SON & CO. / MANUFACTURERS & IMPORTERS / of / SADDLERY AND HARNESS / 403, GEORGE ST. / SYDNEY” Label, paper: “BAGGAGE, MELBOURNE TO LONDON’, part of word ‘CABIN’ and “P & O” Label, square, white background, black print, circular emblem: ‘PE - - - - - & ORIEN-’, ‘STEAM NAVIATION COMPY.’ BAGGAGE’ and a red printed “M” in centre of circle. Label, rectangular, white background, black print; narrow line border, text in rows and an ‘X’ overprinted, from corner to corner of the border: “BAGGAGE / P. & O. S. N. Co. / MELBOURNE / To / LONDON” Label, paper, rectangular, white background, black print, an “X” across the label: “CABIN / P & O / “ Label, paper, on base, “– aid” [Paid], “SYDNEY” flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, hat box, leather hat box, vintage hat box, top hat, homburg hat, derby hat, travel ware, luggage, leather goods, travel goods, clothing accessory, men’s clothing, john brush, son & co, saddler, sydney firm, peninsular & orient steam navigation company, p & o, g.m., melbourne to london, sydney port, melbourne port, hat case

At top of address: Hope of Warragul Emblem. '' We will drink neither wine nor strong drink '' To Brother G.A.Pethard. Dear Sir - Brother: We the officers and members of the Hope of Warragul Tent No: 267. Now that you are leaving the district desire to present you with a small token of our esteem and regard in appreciation of your many good qualities as a consistent member of our Honorable order. Signed: John Burvill. CR. George Whittaker. DR. - James Connor. Secretary. Alfred. J.Harris. P.C.R - Andrew Lillico. P.C.R. Warragul. September 1. 1889. Gilt frame. Deframed 2022person, individual, certificate, mrs. l. chancellor. 68 panton street. golden square. vic. 3555. sender: s.thomas. 3/14 burrowes street. brighton. vic. 3186

p.284.fictionSomewhere out there Ellie and her friends are hiding. They're shocked, they're frightened, they're alone. Their world has changed, with the speed of a slamming door. They've got no weapons - except courage. They've got no help - except themselves. They've got nothing - except friendship. How strong can you be, when the world is full of people trying to kill you?juvenile fiction, war stories - juvenile fiction

This describes the feel of a 1961 Robin Boyd designed house, which shows a strong Japanese influence.Illustrated article. (2 copies)Keep for Trish' in blue penwalsh st library

Sir Albert Ernest Coates (1895-1977), surgeon, was born on 28 January 1895 at Ballarat, Victoria, eldest of seven children of Arthur Coates, letter carrier, and his wife Clara Annie, née Eustice, both Victorian born. Although their worldly possessions were few, Arthur and Clara raised their family in an affectionate atmosphere and instilled in them the virtues of honesty, industry and education. They were strong supporters of the Methodist Church. (Australian Dictionary of Biography extract). Arthur apparently was a Home Missionary at one stage of his life.Coates in formal dress.coates, arthur

Article entitled "Exit Pam, with strong words". The article begins, "Let sleeping dogs lie is not a Morison motto. In the tradition of a John Stone, the retiring Executive Secretary of Community Services clearly believes in the maxim: When you get out, speak out. Pam Morison says: The church and community have turned their backs on community services. The Uniting Church has lost the desire to pioneer new programs. Government has moved ahead of the church. The Uniting Church is a very sexist organisation. Its community services work is substantially under-resourced." The article covers four pages.Pam is shown facing the camera, seated at her desk.C&N identification.morison, pam, uc community services

Born 1823 West Indies, commenced ministry 1847, died 1890 in Rookwood, NSW. Joseph Horner Fletcher (1823-1890), Wesleyan minister, was born at St Vincent, Windward Islands, the eldest son of Rev. Joseph Fletcher, Wesleyan missionary, and his wife Mary, née Horner. In 1830-37 he attended a Methodist school in Kingswood, England, and then his uncle's school in Bath. He entered business but in July 1842 became a local preacher. He was accepted for the Wesleyan ministry in 1845 and after training at Richmond College, Surrey, he married Kate Green in December 1848. He was sent to Auckland, New Zealand, where he became the founding principal of Wesley College. In 1856 poor health obliged him to take up circuit work in Auckland and New Plymouth, where he witnessed the Maori war. He moved to Queensland and in 1861-64 was on circuit in Brisbane. In 1863 he became the first chairman of the Queensland Wesleyan District. In 1865 Fletcher was serving at Ipswich when invited to succeed Rev. John Manton as president of Newington College, Sydney. He acknowledged that the main business of the school was secular education in a Christian atmosphere and believed that education could help to overcome sectarianism. He invited distinguished academics to examine Newington students and strongly supported (Sir) Henry Parkes's education policies. He opposed the formation of a Methodist university college until a strong secondary school was established. He believed that boys should be taught to appreciate orderly conduct rather than to fear punishment and that corporal punishment was degrading and to be used only in extreme circumstances. Under Fletcher Newington developed a high moral tone and a tradition of order and respect. After he retired in 1887 the old boys gave him an address of appreciation and a portrait in oils to be hung in the hall. In addition to his normal duties from 1883 he had taught resident theological students. From 1887 he was an effective and progressive full-time theological tutor. As a preacher Fletcher had exceptional power: he expressed his thoughts in a fresh way with sparkling illustrations and characteristic humour. He combined humility with great spiritual power, prophetic vision and administrative ability. He encouraged the development of institutional church work which grew into the Central Methodist Mission in Sydney. Fletcher was elected as the first president of the New South Wales and Queensland Wesleyan Methodist Conference in 1874 and again in 1884, when he was also president of the General Conference of the Australasian Wesleyan Methodist Church. As conference editor in 1868, 1871 and 1873, Fletcher contributed more than fifty articles, numerous essays and reviews of books to the Weekly Advocate. He read widely, deeply and with discrimination. Never robust in health, he suffered months of illness before he died aged 66 at Stanmore, Sydney, on 30 June 1890. He was survived by three sons and two daughters, and buried in the Wesleyan section of Rookwood cemetery. In 1892 his eldest son, Joseph, edited a memorial edition of his Sermons, Addresses & Essays. Information from Australian Dictionary of Biography, Vol. 4, 1972. Sepia toned carte de visite. Seated studio portrait of the Rev. Joseph Fletcher.Rev Joseph Fletcherrev. joseph fletcher, joseph horner, wesleyan minister, newington college sydney, new zealand, queensland, president general conference, wesleyan methodist church, central methodist mission

Pugh was one of many artists who brought an Australian experience to attention. This work reveals the colour, textures, harshness and inhabitants of the natural bush, with the angular forms found on the ‘black birds’ dominating the composition with dramatic effect. Shanahan, Albert Tucker, Frank Werther and Fred Williams have at one time settled and or work there. Untitled (Black Birds) from the Bodford Terrace Suite 1978, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come lithographic print on French Arches paper. Dynamic and expressive depiction of black birds in flight on far left of composition, cropped elements of Australian landscape in blue and red in the background (trees, shrubs, rocks). Inscribed lower right 'Clifton'; 1:1; 179/300clifton pugh, bodford suite, dunmoochin

Pugh was one of many artists who brought an Australian experience to attention. His landscapes reveal the colour and textures of the natural bush, often with a dramatic emphasis. His reference to the harshness of the bush consistently arises, with angular forms dominating the composition. White Choughs in the Landscape is typical of his representations of the bush as a dynamic environment. White Choughs in the Landscape, 1958, created by Clifton Pugh - a celebrated Australian artist known for his landscapes and portraiture as well as (three-time) winner of Australia’s Archibald Prize. This piece plays a significant role within the Nillumbik Shire Collection due to Pugh’s strong connection to the local land where he settled in Cottle’s Bridge in 1951, purchasing 15 acres and named it Dunmoochin. Artists, potters and others settled at Dunmoochin and formed the Dunmoochin Artists Co-operative in order to collectively protect the land. Numerous renowned artists worked or resided at Dunmoochin including: Rick Amor, Fred Williams, Albert Tucker, Frank Hodgkinson, Mirka Mora, John Olsen, John Percival and John Howley amongst others. Upon his death in 1990 he left an art collection and extensive properties at Dunmoochin to be appreciated and utilised by artists for years to come White Choughs in the Landscape is typical of Pughs' representations of the bush as a dynamic environment. The brittleness and fragility of the landscape is recorded in the surface of the work, where paint is applied in thin layers.Signed 'Clifton Sept. 1958'clifton pugh, dunmoochin, white choughs

Jane Annois had a long involvement with Potters Cottage in Warrandyte, where she taught for many years. Potters Cottage was established in the late 1950s in Warrandyte as an artist co-operative. Founding members included Reg Preston, Phyl Dunn, Gus McLaren, Artur Halpern, Sylvia Halpern and Elsa Ardern. These talented artists had the ingenuity and foresight to create a teaching studio, gallery shop and restaurant to experiment, make, promote and sell predominantly domestic wares of the time. These activities helped financially sustain each member’s individual creative practice. Potters Cottage was influential in the development of contemporary ceramics, building and developing practices that experimented with traditional ceramic processes, raw materials and locally sourced clay. The group mentored and nurtured many interested in the art of ceramics, producing alumni and teachers such as Peter Laycock, John Dermer, Greg Daly and Jane Annois. Jane Annois is a ceramic artist who has lived and worked locally in Warrandyte for many years. She focuses primarily on exploring the art of Japanese raku, adapting the technique to develop the typical characteristics of crackle glazes and lustres, with contrasting areas of black. Jane also applies a fine slip called terrasigillata which gives soft, warm ochre colours. This technique was once used by the Greeks over 2000 years ago to seal and decorate their pots. She is also strongly onfluenced by the French potters, particularly in the style of terre vernissee, a decorative form of terracotta tableware. Three piece stoneware and raku fired ceramic sculpture. The first piece is a hollow, dome shaped object. It is orange (terracotta slip) in colour with a copper metallic band and a black edge on one side with a small yellow glazed rounded triangle and metallic strip of colour on the otherside. The second piece is shaped like a traditional vase. It is orange (terracotta slip) in colour with white crackle on the inside. It has a yellow slip edge with a dark glazed square on one side and on the other side a black thick edge that mirrors the contour of this shape. The third piece is shaped loosley in the form of the letter 'z'. It compliments the second piece with a yellow slip edge and black glazed square to its lower left side and top right as well as on its' other side a black thick edge that mirrors the contour of this shape. This piece has a very small skewed square opening at its' top. All three pieces have elements of crazing and variations of colour and lustre, caused by the raku process. 2006.52.1VA has the artist name/signature 'J. Annois' inscriped small (with fine point ceramic tool?) on the front of the piece, bottom right; 2006.52.2VA has the artist name 'Jane'? inscribed (unlegible - with fine point ceramic tool?) underneath; 2006.52.3VA has the artist name/signature 'Jane Annois' inscriped (with fine point ceramic tool?) inside its hollow form. evolution, raku, stoneware, terrasigillata, terracotta, glazes, slip, terre vernissee

This dress belonged to Ethel Nina Blundell (1876-1949), having been first made for her mother Jane Blundell (nee Burkitt, 1845-1878). Born in Dublin, Jane married James John Blundell Jr at the Black Street Congregational Church in Brighton on 16 March 1874. The Blundells were a socially prominent Brighton family who played an important role in the development of the area. James' father, publisher and bookseller James John Blundell Sr, served as a Brighton Borough Councillor between 1862 and 1867 when the local government was still in its formative years, including holding the position of Mayor in 1864. He was involved in the foundation of the Brighton Volunteer Rifle Corps and was also a strong supporter of the Brighton Ladies Benevolent Society. The Blundell family were active members of the Brighton Congregational Church and supported the construction of the Black Street church, where James Jr served as a deacon for sixty years, in addition to his work in the Crown Land and Survey Department. The dress is believed to have been made for Jane in 1875 or 1876 during her early pregnancy, likely by a local dressmaker. Jane died in 1878 when Ethel was very young, and Ethel was then raised by her father and paternal grandmother. As she never married, Ethel remained living in the family home of 'Eumana', 164 Church Street, and as an adult she assumed the role of hostess whenever she or her father had guests. On these occasions, she reportedly wore her mother's dress. The family home was sold on James Jr’s death in 1924 and Ethel was living at 52 Black Street Brighton when she died in 1949. In the 1930s, Ethel gifted the dress to a close family friend, Dr Jean Kelly. She told Jean that the garment held precious memories, perhaps due to the connection it provided to the mother she had never known. Jean donated the dress to the Merimbula Old School Museum in NSW in 1987, where it was on display for many years. The Museum donated the dress to Brighton Historical Society in 2023.This is a good example of a late nineteenth century day dress, made from two different patterns of russet brown silk brocade and featuring a lobster tail style bustle. The lack of boning combined with waist and hip measurements indicates it may have been made as a maternity dress. It is lined with beige leaf pattern cotton fabric. The princess line fitted bodice of herringbone pattern brocade has a high round neck with small 'mandarin' style collar and buttons down the front to below the waist where it forms an overskirt which is bordered with a band of coffee bean patterned brocade. The overskirt drops down to hem length at the back but from the centre front it is draped up to the back to a point below the waist level. Here it is sewn to the edge of the lobster tail style bustle which is also bordered by the coffee bean fabric. There is a concealed pocket with the opening under the right edge of the bustle. The buttons on the front of the dress have a decorative circlet of small blue flowers around a russet silk covered dome. The long sleeves are set in and slightly full with a contrasting three pleat band of coffee bean fabric with an ornamental turn back from the pleats sewn just above the wrist. The skirt section of the dress is in four 20 cm bands of alternate fabric patterns with the top and third band of coffee bean pattern slightly gathered and the second and fourth bands of herringbone forming pleated ruffles.1870s, ethel nina blundell, jane blundell, jane burkitt, eumana

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

1927 – Henry Hocking 1928 – Myr. Mortimer 1929 – B.M. Dennis 1930 – Bessie M Dennis 1931 – Mary. L. Archbold 1932 – Edith O. Strong 1933 – Victor Payne 1934 – Nancy Exon 1935 – Hilton Dyring 1936 – Edna Scoles 1937 – Olive Dennis 1938 – Bruce Addis 1939 – Tessie Priest 1940 – Myrtle Wright 1941 – Ailsa Dennis 1942 – Dorothy Scoles 1943 – Robert Briggs 1944 – Douglas Cracknell 1945 – B.L. Delmenico 1946 – Valmae Colling 1947 – Joy Cocks 1948 – Judith Botten 1949 – Malcolm Archer 1950 – Brian Schreck 1951 – John Dawe 1952 – Sally Smirftt 1953 – Keith Campbell 1954 – John Burch 1955 – J. Retallick 1956 – L. Williamson 1957 – P. Kouwenberg 1958 – Inge. Schuber 1959- Linday Burch 1960 – Garry Wiseman 1961 – Heather McMillan 1962 – Linda Preece 1963 – Gail Nancarrow 1964 – Robyn Retallick 1965 – Brian Jenkins 1966 – Reg. Ellery 1967 – Suzanne Skinner 1968 – Lynette Jenkins 1969 – Bettie Exon 1970 – Janice Cox 1971 – Kerry Pollerd 1972 – Norma Ellery 1973 – John Bari From 1983, The Chewton School awarded the award on their own behalf 1983 – Robyn Dredge 1984 – Sharon Tizzard and Shannon Grey 1985 – Julie Tizzard 1986 – Karen O’Meara 1987 – Tammy Smith 1988 – Maggie McCormack 1989 – Rebbecca Say &Trinity Mawson 1990 – Amber Mawson 1991 – Lucy Norwood 1992 – Emma Cohen & Aimee London 1993 – J. Troutbeck-Noy

John Robson was born at Newcastle, Northumberland, England, the son of Mathew Robson and Hannah Sproat. Hesailed to Australia on the "Arabian", landing at Port Phillip in 1854. Obituary DEATH OF MR. JOHN ROBSON ANOTHER PIONEER GONE. AN EXTREMELY VERSATILE MAN. General regret was expressed at the death yesterday morning at Miss Garnett's private hospital, of Mr John Robson, musician and and elocutonist and one of Ballarat's oldest, best known and most respected citizens. Mr Robson had been sitting for a few weeks, and his medical adviser, diagnosed his complaint as appendicitis, which afflicted, him in such a severe form that an operation was deemed to be absolutely necessary. He was removed to Miss Garnett's private hospital, and about a week ago he was operated upon. Mr Robson, being a man of robust constitution, stood the shock of the operation well, and he was making good headway towards recovery when the spell of hot weather set in, and caused exhaustion. Heart failure followed, and exhaustion the attention of his medical adviser, and the careful nursing he received, the end came peacefully at the time stated above. Mr John Robson was born at Newcastle, Northumberland, England, in , and he was therefore 72 years of age. Mr Robson's father, who was a contractor, had much to do with the building of the City of Newcastle. After passing through minor schools, Mr John Robson entered the academy of Professor Ross, and soon rose to a foremost position in the classes. When his studies were completed he was apprenticed to an architect and for a time studied the technique of this important branch of his father's calling. His adaptability for the work was great, and hopes were entertained that he would rise to a high position in the profession. Then came glowing reports of the wonderful Australian gold discoveries. Mr Robson’s father decided to migrate to these parts, and he sent a son to prepare the way. Believing that tools and timber might not be procured in Australia. Mr Robson, senr, constructed a portable wooden residence, which was shipped in pieces on the White Star liner Arabian which brought the family over. In 1854 Mr John Robson, who was then nearly 17 years of age, landed at Port Phillip, and with the other members of the family came on to Ballarat, which place he made his home to the end. When he first reached Ballarat, Mr Robson joined in the search for gold, but not being strong enough for this rough work, he turned his attention to carpentering. This he did not care much about, and in 1858 he was appointed a teacher in St. Paul's Day School, Ballarat, but in the following year he relinquished this position and became exchange clerk in the local branch of the National Bank. Being adapted to this quickly made himself acquainted with the details of a banker’s profession, and his rise was rapid. In the year 1871, about 12 years after he joined the bank, he was appointed manager, and for four years occupied that position with conspicuous success. He was connected with the National Bank for eighteen years, and in 1875 he entered business on his own account. With his brother, Mr Wm. Robson, he erected red-gum sawmills at Gunbower, on the River Murray. Subsequently he was offered the management of the Australian and European Bank in mills. In 1886, he accepted the position and held it until the bank was absorbed by the Commercial Bank of Australia. For a time he lived privately, still, how ever, holding his interest in the saw mills. In 1886, he accepted, the position of manager of the Ballarat branch of the Mercantile Bank of Australia. This bank was closed in 1892, and Mr Robson retired, altogether from commercial circles. In the meantime his brother died, and the saw-mills were sold. Mr Robson held a very important position in music, in fact he for many years was looked upon as the leading musician in Ballarat, he being master of quite a variety of instruments. In 1864. he was appointed conductor of the old Harmonic Society in this city, and subsequently conductor of the Ballarat Liedertafel. Under his leadership this society attained a high state of efficiency, which has since been well-maintained. Many years ago Mr Robson formed an operatic company from amongst Ballarat residents, and such beautiful operas as “Lucrezia Borgia' "Lucia di Lammermoor," “Ernani,' La Sonnambula,” and others were successfully rendered. As an elocutionist, Mr Robson attained much prominence, he being recognised as one of the most capable teachers in Ballarat. He was president of the one-time Ballarat Shakespearian Dramatic Club, which under his direction, from time to time produced Shakespeare’s masterpieces. In this, too, he took the chief characters, the roles of Macbeth, Othello, Hamlet, and Shylock, all being powerfully represented by him. For some years prior to his demise Mr Robson, acted as a teacher of music, and elocution, and many of his pupils, competed with great success at the Ballarat and other competitions. Some years ago he acted as adjudicator at the South street competitions, when he gave every satisfaction, and his services were frequently secured to judge at competitions in other parts of the State and in other states of the Commonwealth. At the Ballarat band contests every year, he was a conspicuous figure, and he always acted as leader of the massed bands, by whom his appearance was always enthusiastically greeted. In his younger days he took a keen interest in several forms of sport, was a successful oarsman, one of the best amateur boxers of his weight and as a billiard player was able to hold his own with professionals. 'Mr Robson was an earnest adherent of the Church of England, and in social and other organisations he from time to time held important positions. As a Anglican churchman, he was widely respected, being the official principal and lay Canon of the Cathedral, a member of the Bishops Council, and a prominent member of St. Paul's Church, Ballarat East. He was also a prominent member of the Masonic order. and was a Past Grand Junior Warden of the Grand Lodge of Freemasons of Victoria, an office which he filled with the greatest credit. He was also a member of the Old Colonists' Association and the Mechanics' Institute, was at one time vice-president of the Art Gallery was once a member of the School of Mines Council, and was many years ago made a Justice of the Pence. On many occasions he was asked to stand for Parliament, as a representative of Ballarat and on one occasion he consented to do so, but subsequently retired without going to the poll in favor of the late Mr Daniel Brophy. He was also often pressed to stand for both the Ballarat East and City Councils, but he declined to allow himself to be nominated. Mr Robson was an active gentleman, and a brilliant conversationalist. His courtesy, high mental and moral endowments, and warm open-heartedness, made him a most interesting and congenial companion. During his long residence in Ballarat, which city he declined to sever his connected with, he was well known and much courted, and was looked up on as one of the most prominent citizens, and his loss will be very severely felt. Some years ago a portrait of Mr Robson, in full Masonic regalia, was painted by he late Mr Stanton Bowman, and was presented by Mr Robson to the citizens, and it was hung in the City Hall, where it is always admired by visitors. The late Mr John Robson never married, and with his brother, James, lived for many years in Eureka street, Ballarat. The two brothers were nearly always together, and as they walked the streets with arms linked, they were frequently referred to as the Siamese twins. The only Australian relative of the late Mr John Robson is his brother. Mr James Robson, who hardly left the bedside during John's illness, and to him the blow has been a very severe one. In his bereavement he will have the heartfelt sympathy not only of the whole of the residents of Ballarat, but of people in all parts of the State. When the news of Mr Robson’s death became known the flags were flown at half-mast at the City and Town Halls, and the Old Colonists’ Hall, out of respect to the memory of the deceased. The interment will take place at the Old Cemetery this afternoon. The cortege will leave “Rothbury," Eureka street, Mr Robson’s late residence, at 3 o'clock, for St. Paul’s Church, where there will be a short service conducted by the vicar, the Rev T. A. Colebrook. (Ballarat Star, January 1910)Photographic portrait of John Robson, member of the Old Colonists' Association of Ballarat.john robson, old colonists' association of ballarat, old colonists' club

Has a strong association with a person in the UK who was seeking tram equipment had the Ballarat system closed in 1962., Has a strong association with a person in the UK who was seeking tram equipment had the Ballarat system closed in 1962.Memorandum or letter, carbon copy, dated 16/10/1962 on Electricity Supply Department paper, about the acquisition of surplus Brill 22E trucks from Ballarat by a person, Mr John Batty of the UK. Based on the proposed abandonment being implement, asked for the appropriate price for such equipment. Copy for "Tramways' Abandonment file" in red. Sheet has rounded corners.trams, tramways, 22e trucks, sale of trams, closure

Demonstrates an item that all SEC Ballarat tram crews carried, a simple key to open/close the doors and has a strong association with a SEC Ballarat tram crew member.T-shaped steel piece, fashioned from rod and welded at the top, with a round top piece or handle with a rod that has been ground to give a tapered square shape for use in external doors on SECV Ballarat Trams - known as a square key. Was used to secure doors in both open and closed positions. See Reg Item 3663 for similar items. Was used by SEC Ballarat driver John "Jock" Menzies.trams, tramways, tramcars, doors, locks, security

Yields information about the intersection of Sturt and Lydiard St and the operation of trams prior to the closure of the SEC system. Has a strong association with the work of the Association of Railway Enthusiasts.AGFA blue and white plastic mount, 35mm slide, from the Association of Railway Enthusiast's film strip titled "Provincial Tramway Film Strip" of h, while No 13, turns into Sturt St from Lydiard St Photo taken Sept. 1971. Tram 13 has a "Trotting Bray Raceway Tuesday" sign on the rear of the tram. The National Mutual Life Association building in the background. The film strip notes (Reg. Item 2560), provided the following caption details: "The late afternoon sun catches No. 28, outbound to Lydiard St Nth, passing No. 13 inbound at the Sturt St junction - Dec. '67" Photo by Dave Macartney. "Slide No. 6" Various notations by John as to the slide number and the trams in pencil and ink.tramways, trams, are, film strip, sturt st, lydiard st north, bray raceway, tram 28, tram 13

Yields information the operation of trams prior to the closure of the SEC system near the Railway Station. Has a strong association with the work of the Association of Railway Enthusiasts.AGFA blue and white plastic mount, 35mm slide, from the Association of Railway Enthusiast's film strip titled "Provincial Tramway Film Strip" of No. 14 southbound in Lydiard St North with a Twin Lakes and an auxiliary board advertising a Fete. No. 31 is northbound to Lydiard St North with an auxiliary board "Trotting Bray Raceway Friday Night". Photo taken Sept. 1971. In the background is the railway level crossing signal gantry and Reid's Coffee Palace. Note the letter box at the railway station yard. The film strip notes (Reg. Item 2560), provided the following caption details: "No. 31 and 14 cross at the end of the double track outside the Ballarat Coffee Palance - Oct. '68" Photo Max Michell Slide No. 7 Various notations by John as to the slide number and the trams in pencil and ink.tramways, trams, are, film strip, level crossings, lydiard st north, bray raceway, tram 31, tram 14

Yields information about the storage of trams at the City Loop on the last day of operation of the SEC tram system. Has a strong association with the SEC Sales department of the mid 1970's.Copy slide - white / black plastic mount of four bogie trams in the City Loop, c1971. Leading tram No. 37 - last day of operations. Prepared by BTPS Sales - photographer not given.Has written on the slide - "BTPS Sales" and "19/9/1971"tramways, trams, closure, city loop, grenville st, sturt st, tram 37

Has a strong association with tram crews and the rosters crew workings and Norm Hunt. Prepared by crews from sheets to enable them to know what service times to run, meal times, details of crew changes etc, based on their allocated shift or run from the roster.Notebook - 60 pages with brown card covers, wire spiral bound - Croxley or John Dixon Product with the Croxley symbol on the front cover and a list of their wire bound books on the rear. Each sheet faint ruled, both sides. Each sheet, the typewritten details of each SEC Ballarat run - giving sign on times, notes, timetables, which run taken or taken by, meal times, notes with regard to special instructions, finish times and total hours worked. Separated for Weekdays, Saturdays and Sundays. The May 1970 roster? On the last sheet has a heading "Owe Days", with names and number of days owed. See also Reg item 2298 and 4073 for other versions. trams, tramways, ballarat, rosters, employees, shifts, timetables

Has a strong association with John Prisk, ESCo tram driver of the 1910's and demonstrates the importance of being a union member at the time and the badge provided by the unionAustralian Tramway Employees Association (Tramways Union) badge. Badge made on a brass or metal backing with a gold (9ct) plating with words "Australian Tramway Employees Association" on outer edge of badge with a royal blue enamel background. In centre of badge has the Australian coat of arms with a railway type spoke wheel above the logo and underneath the coat of arms the words "Federated Australia" in a banner. Has a steel ring through a hole in the top of the badge. On back of badge has stamped into the badge "John Prisk / Member / Since 1912". On the base of the badge has words "APFX 9ct" stamped into the bottom of the badge. See image files for front and back of badge. See worksheets in Reg. Item 3140 for details about Jack and his SEC driving career.tramways, trams, sec, drivers, esco, unions, badges, aeta, employees

Has a strong association with BTM Board members who worked for the PTC at the time - 1992 - of the 21st Anniversary celebrations.Colour print of a photograph on Kodak paper of BTM Members, members, who worked for the PTC at the time, standing in front of a PTC bus and tram No. 13 at the crossing loop. Features Graeme Bennett, Richard Gilbert, Andrew Mitchell, John Phillips and Carolyn Dean. See Reg Item 3271 for further details. Similar photo used in PTC "Changing Times" Vol 2, No. 38, 8 October 1992", published for PTC (Public Transport Corporation) staff. Gives news within the PTC - staff magazine, covering both rail and tram.btm, 21st anniversary, gardens loop, tram 13

Has a strong association with the BTM and John Clowes, a BTM driver.Print of digital Image of John Clowes supervising a group of children putting the pole of No. 27 back on the overhead at St Aidans Drive - 279/2003 - see photo DCP-3225. Photo was printed by the Gold Museum 2008 for a local exhibition and additional copies given to the Museum by Roger Trudgeon 2009.trams, tramways, btm, st aidans drive, trolley poles, tram 27

Strongly associated with the COTMA Ballarat conference in November 2000 which was hosted by the Museum.Printed, dark blue vinyl sign on white plastic sheet for the COTMA Ballarat 2000 Conference, features the COTMA logo surrounded by the name and the words "Ballarat Conference 2000" on the underside. Made by John Phillips? Hi res scan added 13-3-2016.trams, tramways, cotma, conferences, sign, btm

Letters hand written by Jack, concerning primarily his observations of steam locomotives and trains in the Ballarat area, with some references to his health, trams, replacement of steam locomotives by diesels (which he did not like). John Southern lived in NSW and was a well known collector of information and photographer on Australian steam locomotives; wrote articles for the ARHS Bulletin and other publications. On first letter, Wal notes he was involved in an industrial accident at the Ballarat Gun Cotton factory in 1943 which severely affected his health. Photocopied from original letters held by Dave Macartney.Has a strong association with Wal Jack and yields information about steam locomotives and trains in the Ballarat district and VR during the 1950's.Set of 36 pages - stapled in top left hand corner, photocopies of letters from Wal Jack to John Southern from 7-2-1950 to 6-5-1961. trams, tramways, wal jack, letters, ballarat, steam locomotive, gun cotton, accidents

Yields information about the Ballarat Tramway system through historic film collected by the BTPS and made into a Video tape. Has a strong association with those who provide the film, for example Bob Prentice and others.Video cassette tape and box with cover containing the video titled ""The Tramways of Ballarat" produced by the BTPS in 1993. The contents of this tape were subsequently used to make the DVD. Over a 1000 copies distributed. Material from BTV 6 used in the production. See rear cover for details of those whose film was used. Cover Photo Glen Mills, Script Richard Gilbert, Narration Bruce McLean and Produced by John Phillips and Richard Gilbert. Inside of the cassette paper cover is a map of the system. Produced by the Association of Railway Enthusiasts on behalf of the BTPS. Cost at the time $29.95, price sticker remains.ballarat, films, tv broadcasts, btv

Has a strong association with those who travelled on the BTPS organised tour to Mirboo North in 1973.Colour Print of the tour group and loco crew on the BTPS arranged special train to Mirboo North on 27/9/1973 at Yinnar station. Printed on Kodak paper. See Reg items 1817, 1819 and 3274 for other related items. Names: Fireman, Driver, Terry Oakley, Geoff Cargeeg, Alan Harnwell, Clyde Croft, Richard Gilbert, Rolf Jinks, ?., Peter Winspur, John Withers, Warren Doubleday, Peter Rees, Graham Jordan, Tom Murray, John Wayman, Rob McUtcheon, Bill Kingsley and Jeff Bounds kneeling down."BTPS Mirboo North Tour / Thurs 27-9-73 at Yinnar" in ink on rear.trams, tramways, btps, tours, special trains, morwell mirboo north