Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.Cast iron Welt Cutter with a wooden handle.

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.Cast iron Seat Breaker with a wooden handle.

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.Cast iron Fudge Wheel with a wooden handle.

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.Wooden, folding, foot measure/ruler with brass clasps.bootmaking tools, measures, rulers

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.Cast iron hammer with a wooden handle. Larger Cutter/knife, cast iron with a wooden handle. Smaller Cutter/knife, cast-iron with a wooden handleHammer: "London" Larger knife: "Pettys Sheffield".bootmaking tools, hammers, cutting tools

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.Cast iron Heel plate. Miscellaneous Sole plates. Hobnails and a tin of wooden sprigs.bootmaking tools, nails

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.Cast Iron Heel Shave. 1 larger Leather heel piece. 1 smaller Leather heel piece.bootmaking tools, shaves

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.Handmade Waxed Thread attached to pig bristles, for boot stitching .bootmaking tools, thread waxers, threads

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.5 x Cast iron Awls, all with wooden handles. 1 x container of spare Awl metal tips.bootmaking tools, awls, piercing tools

Underwear & 1 item of nightwear belonging to Mary Monica Fleck Turner (Smith). Turner Collection.Items of clothing belonging to an early Kilmore family making up part of the Turner Collection.Eight camisoles, one underskirt, one bottom half negligee, one nightgown case. Generally in very good condition. TEX-0055.1 Underskirt, cotton & lace with blue satin ribbon. TEX-0055.3 Embroidered nightgown case TEX-0055.4 Camisole, lace & cotton, circular design on front, cap sleeves, prev. repair L front, cap sleeves with rust stains L sleeve. TEX-0055.5 Camisole, lawn & lace, white ribbon threaded through neckline, small holes throughout. TEX-0055.6 Camisole, white broderie anglaise, narrow fabric shoulder straps, drawstring neckline. Small holes throughout. TEX-0055.7 Camisole, cotton & lace, twisted gold ribbon at neckline, small holesthroughout. TEX-0055.8 Camisole, broderie anglaise, wide lace shoulder straps, blue ribbon at neckline, drawstring waist. 2 buttons missing, tear to lace mid upper back. TEX-0055.9 Camisole, white cotton, embroidered, pink ribbon through neckline, pintucks & drawstring at waist, 3 buttons missing. TEX-0055.10 Camisole, muslin, softlace shoulder straps, blue ribbon at neckline, hook & eye at waist, buttons missing. TEX-0055.11 Camisole, cotton & lace, pink ribbon at neckline, some holes/tears, 2 missing buttons, previous repair under R arm.TEX-0055.11 - Label outside R bodice edge 'Melbourne/Robertson & Moffatt Pty Ltd/Bourke Street'.underwear, nightwear, turner collection, smith

Wandin Thomas Sebire JP (1867-1960) learnt boot-making as a young man. In a small workshop on his property in Sebire Avenue, Wandin he made boots for family, friends & neighbours. He also repaired boots & made other small leather articles. Bootmaking is a complex process requiring a variety of tools. The leather is cut to shape, glazed & burnished (polished) with heated irons. The pieces are stretched onto, & nailed to, a wooden last to form the boot. Once attached to the insole, the boot is finished on a metal last. Uppers are stitched with waxed thread through holes made with an awl. Heels comprise pieces nailed together & neatened with a heel shave. Metal plates, short nails or hob nails driven into the sole & heel, often in a pattern, improved durability.2 pairs of handmade, adult brown leather boots, with decorative stitching, eyelets and stitched with waxed thread. Soles covered with hob nails in a decorative pattern. 1 handmade child's brown leather boot, with decorative stitching, metal eyelets, heel has patterned nails.bootlaces, boots

The wooden crate contains a set of patterns or moulds that were once used at Briggs’ Brass Foundry for making sand moulds. The traditional method of sand casting is over 2000 years old. It is part of a crafted process used to make brass and copper alloy goods suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-corrosive and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry display was one of the early ‘working craft’ shops at Flagstaff Hill. It included a historic Cornish chimney that was set up as a working model, telling the story of heat from furnaces to smelt metal, which would then be poured into the sand moulds. This chimney is made from specially curved bricks and is about two-thirds of its full height when originally located at the Grassmere Cheese factory. HISTORY of BRIGGS BRASS FOUNDRY: - The family business was founded in 1912 by Herbert Harrison Briggs (1963-1931) with his son George Edward Briggs, trading as Briggs & Son Foundry at 70 Wellington Street, Collingwood. Younger son Cyril Falkiner McKinnon Briggs joined the foundry in 1922, and it was renamed H H Briggs & Sons Foundry. Both sons ran the firm after Herbert’s death in 1931, making products mainly for marine purposes. They became Bell Founders in 1936 and were known for their specialty of high-quality ship bells. They produced miniature varieties of these and other decorative items such as small propellers. The firm became known as Briggs Marine Foundry. The great-granddaughter of Herbert Briggs inherited the Briggs Brass Bell, similar to the one at Flagstaff Hill. Cyril became the sole family member of the firm in 1965. The Briggs Marine was an exhibitor at the 1965 Boat Show, where he advertised as “non-ferrous founders” and “Bell Specialists”. The foundry relocated to Chesterville Rd, Moorabbin. Cyril passed away in 1967. It is thought that either Cyril or his business partner Frank Lee donated the objects from the Briggs’ Foundry around the time when the business moved to Moorabbin. However, Flagstaff Hill hadn’t been thought about until 1972. The donated items were registered in the Collection in 1986 but they could have been in storage from an earlier date. In October of that same year, Briggs Marine restored Schomberg Bell, a shipwreck artefact from the collection at Flagstaff Hill. Peter Oram, who had worked for the previous owners of Briggs Marine as a fitter and turner, took over the firm in 2014, reviving some of the old casts for current use. The business is now located at Seaford in Victoria and is part of Alliance Casting & Engineering Solutions (Alliance Casting Pty Ltd). In 2016 the original Collingwood Foundry building was repurposed as a thriving business hub named The Foundry. The crate and its patterns are significant for their association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. The patterns are associated with the long-running firm, Briggs Brass Foundry, that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine is also associated with the Schomberg Bell in Flagstaff Hill, restoring the bell to is former state to show an example of the bell from a luxury mid-19th century vessel. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. Wooden rectangular crate with removable wooden lid. Inside is a set of wooden patterns of various shapes and sizes for making sand moulds in a metal foundry. The crate is made from thick wooden planks nailed together. The extended wooden struts on the long sides form a frame to hold the wooden lid. A pair of metal handles are at each short end of the crate, fixed with strong metal bolds. Between each pair of handles is an inscription stamped into the wood. The underside of the crate has red paint splashes. There are insect holes in the wood but no sign of current infestation. Stamped: "H.33 / II" (H may be N or a square B)flagstaff hill maritime museum and village, great ocean road, shipwreck coast, pattern, mould, foundry, brass foundry, metal foundry, crate, box, wooden container, briggs, traditional method, trade, sand cast, cast, brass alloy, copper alloy, marine equipment, marine tools, marine fittings, briggs' bronze, copper tin zinc lead, non-corrosive, briggs family, brassware, metalware, foundering, metalwork, maritime, casting, cornish chimney, curved bricks, grassmere cheese factory, 1912, herbert harrison briggs, h h briggs, george edward briggs, briggs & son foundry, collingwood, cyril falkiner mckinnon briggs, cyril briggs, h h briggs & sons foundry, bell founders, schomberg bell, alliance casting & engineering solutions, collingwood foundry, ship chandlers, marine products, flagstaff hill, warrnambool, maritime museum, maritime village, briggs & son brass foundry, briggs marine, moorabbin

A marine foghorn gives an audible navigational signal to warn vessels of dangers, hazards and the presence of other vessels in fog conditions. The foghorn signal is a series of long and short sounds with short or long pauses between them. These common signals conform to a code called the International Regulations for Preventing Collisions at Sea and provide such information as whether the vessel is under sail or motor, large or small, aground or at anchor. The designs of foghorns vary but they all use a column of air to make a loud sound. Some use vibrating plates or metal reeds, others force air through holes in a revolving cylinder or disc, sounding like a siren, and some use a clockwork mechanism to open the valves that let the air into the horn. They are usually built to meet particular specifications e.g. U.S.C.G. (US Coast Guard). This Tyfon plunger foghorn has a horizontal handle attached to a vertical rod that moves up and down inside a cylinder. When the handle is plunged down, in a similar way to a bicycle pump, the air is forced out of the bottom of the cylinder into a pipe with a bell-shaped horn on the end, making a loud, low sound. The wider base of the cylinder helps to keep it stable. The original type Tyfon foghorns were manufactured in about 1910 by Kochums Mechanical Workshop (Kockums Mechanical Werkstad, Ltd.), Malmo, Sweden. The company was established in 1840, became a Limited company in 1866, and established a shipyard at the Port of Malmo, Sweden, in 1870. The civilian ship production in Malmo ceased in 1987. As well as building ships the company built large industrial and agricultural machinery and maritime goods.this replica foghorn represents the design of a Swedish, Tyfon model 1910. It is an example of the type of safety equipment used on marine vessels to signal other vessels and signal to land. Replica foghorn; portable marine, plunger operation. It has a brass cylinder and adjustable brass horn. The plunger handle and base are wooden. Inscriptions are on the plaque on the horn and moulded into the air intake. Facsimile of a Kockums of Malmo, Sweden, Tyfon model 1910 Fog Horn.Impressed into the attached plaque "KOCKUMS MLK. VERKSTAD / MALMO SWEDEN" and "TRADE TYFON MARK" Also added to the plaque individually "288938" Molded around the circumference of the air intake "TYFON PATENT"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, foghorn, fog horn, tyfon foghorn, kockums mlk verkstad, malmo sweden, replica, warning signal, safety equipment, ship's equipment

These leatherworking tools were widely used in the 19th and early 20th centuries by saddlers, cobblers, and leather artisans for making shoes, saddles, belts, and harnesses. The round knife (half-moon knife) was an essential tool for cutting and skiving leather. The hole marker or stitch marker ensured even stitching, improving durability and aesthetics. The clamp tool may have been used for holding pieces of leather together during stitching or gluing. Such tools were indispensable in handcrafted leather goods before industrialized mass production. From HODGES Saddlery at NatimukThe image features three distinct vintage leatherworking tools, each tagged with numbers for identification. Left Tool: Leatherworking or Saddler’s Clamp A small metal clamp with an adjustable screw mechanism, likely used in leather stitching or riveting. The rusted metal body suggests it was used extensively in leather crafting, possibly to hold pieces of leather together while being stitched or to secure a cutting guide. The adjustable components indicate it was a versatile tool. Middle Tool: Leather Round Knife (Half-Moon Knife) A wooden-handled cutting tool with a curved, semi-circular blade, commonly known as a round knife or half-moon knife. This tool is traditionally used by leatherworkers for cutting, skiving, and shaping leather. The blade is rusted, but the tool still retains its distinct shape. The wooden handle is rounded for a firm grip, essential for precise cutting. Right Tool: Leather Hole or Stitch Marker A small metal tool with multiple protruding points, likely used for marking stitch holes or perforating leather before sewing. The sharp points indicate it could have been used to create evenly spaced stitch lines or decorative impressions. This type of tool was commonly used by cobblers, saddlers, and leatherworkers to ensure even and consistent stitching.leather, cutting tools, commercial equipment, saddlery

An artist’s palette board is used for mixing and holding paint while painting. The ergonomic cut-out and thumb hole allow an artist to comfortably grip and control the palette while working. The well-worn wood suggests frequent use over time, possibly by an artist who worked with oil or acrylic paints. Wooden palettes were widely used before plastic and glass palettes became common, making this item likely mid-20th century or earlier.A rectangular wooden artist's palette with a rounded cut-out section on one side for ergonomic grip. A circular thumb hole near the cut-out, allowing the artist to comfortably hold the board while mixing paints. The wood has a reddish-brown tone, appearing smooth and slightly worn, suggesting frequent use over time.There is black hand-written text near the bottom edge, reading: "ARTIST'S PALETTE BOARD".paint, palette, artist, leisure, painting, picture

This item is a vintage colander or steamer plate, used for draining liquids from food or steaming vegetables and other ingredients. Likely placed over or inside a pot to strain water or allow steam to pass through. Such colanders were commonly used in early 20th-century kitchens before modern plastic or stainless steel versions became widespread. The perforations allow for water drainage, making it practical for rinsing grains, vegetables, or draining pasta.A circular perforated metal plate with small evenly spaced holes throughout its surface. Attached to the edge is a small curved metal handle, likely for securing or hanging the colander. The metal surface is heavily rusted, indicating age and long-term exposure to moisture.colander, strainer, kitchen, utensil, household item, food

This type of mould was commonly used in the late 19th and early 20th centuries for baking steamed puddings or cakes. The central hole allows for even heat distribution. Such moulds were popular in European and Australian kitchens for making traditional desserts like steamed Christmas pudding or gelatine-based dishes. The wear and patina suggest it was well-used, likely in a domestic setting.The item is a two-piece metal baking mould, possibly a vintage pudding or cake mould. The top half is domed with vertical ridges and a central hole, resembling a Bundt or pudding mould. The bottom half is a flat circular base with slightly raised edges. The mould has small loops on the sides, likely for securing the two halves together. The surface shows signs of aging, including discoloration and wear.pudding, steamer, cooking, baking, kitchen, food, household item

This meticulously hand crafted ship model is one of the most intricate and challenging projects for a ship modeller to create. Jim Williams took up the challenge, choosing to make all of the components by hand, following a plan of the ship rather than purchasing a pre-made kit. He even made his own tools specifically for working with this model. The “Sovereign of the Seas” 1637-1697 - The magnificent ship “Sovereign of the Seas” was ordered by Charles I of England, who desired a giant Great Ship to be built. It was built by Peter Pett under the guidance of his father Phineas, the King's master shipwright, and launched with 102-guns at Woolwich Dockyard on 13th October 1637, as the Navy’s second three-decker first-rate ship. It was the most extravagantly decorated warship in the Royal Navy, bought with the help of a special 'Ship Money' tax imposed by the King. Soon afterwards the ship was remodelled and cut down to a safer and faster ship. Over the ship’s lifetime it was renamed “Commonwealth”, then in 1650 it became simply “Sovereign” then again after a rebuild in 1660 it was named “Royal Sovereign”. By 1642 the ship’s armament had been reduced to 90 guns. In 1651 Sovereign was made more manoeuvrable by reducing the upper works. It served throughout the wars of the Commonwealth and became the flagship of General Robert Blake. It was involved in all of the great English naval conflicts fought against the United Provinces and France and was referred to as 'The Golden Devil' by the Dutch. By 1660 the armament was changed attain to 100 guns. After the English Restoration, it was rebuilt as a first-rate ship of the line, with flatter gun decks and 100 guns, and most of the carvings were removed. During the First Anglo-Dutch War, in a secret session on 21 October 1652, the States-General of the Netherlands announced reward money for the crews of fire ships that succeeded in destroying enemy vessels; the Sovereign was singled out with an extra prize of 3000 guilders to sink or ruin it. Although repeatedly occupied by the Dutch, the Sovereign was retaken every time by the British and remained in service for nearly sixty years as the best ship in the English fleet. The Sovereign was in regular service during the three Anglo-Dutch Wars, surviving the Raid on the Medway in 1667. After a second rebuild in 1685 the Sovereign was relaunched as a first-rate ship of 100 guns, before taking part in the outset of the War of the Grand Alliance against Louis XIV of France, venturing into the Irish Sea, and later participating in the Battle of Beachy Head in 1690 and the Battle of La Hougue. At this time she was more than fifty years old. It was the first ship in history to fly ‘royals’ above the topgallant sails and a top gallant sail on the jigger-mast. The Sovereign eventually became leaky and defective with age and was laid up at Chatham when, on 27th January 1697, the famous ship caught fire, burning to the waterline. Jim Williams, the model’s maker - Jim (James Bernard) Williams was born in 1888 at The Forth in Scotland. He lived in Tasmania for some time and enlisted to fight in France in WW1. After the war he moved to Warrnambool, Victoria, where he worked at the Cramond & Dickson clothing store until the Great Depression in the 1930’s. He was later employed at Fletcher Jones Menswear, where he worked for 27 years until just before his death in 1959. Jim was a passionate ship model builder. He worked on his model ships between 1930 and 1955, including The Endeavour and The Sovereign of the Seas, which was one of the most intricate historic ship models to build. He had a table set up in a bay window and worked on them on and off using a jeweller's eye glass on the finer pieces. Jim’s long-time employer, Fletcher Jones, knew of Jim’s hobby and skill as a ship model builder and requested Jim to describe the model, Sovereign of the Seas, with the view of putting it on display. When the model was finished there was a full article and photo in The Standard newspaper. Jim described his work on the ship mode “Sovereign of the Seas” in correspondence to his then employer, Fletcher Jones. The document gives us an insight into his skill, patience, and regard for replicating the details of the original ship. Some of the details are: "In making the model the time taken to make certain items might be of interest. For instance "The Great Lantern" on the stern, four weeks, a similar time for the figurehead of St George & the Dragon. "The lower shrouds three to each side about six weeks & the rigging as whole several months. There are nearly 300 blocks and pulleys ranging from nearly 1 / 16 inch in diameter. Dead eyes were bored with 3 to 5 holes. To do this needles of different sizes, set in handles & ground to wedge ends were used. Glass cut and ground to shape were used windows. All gun-port covers (74) hinged. "All guns and anchors made of wood. Nothing for the model was purchased ready-made; everything hand made." Jim’s family donated the ship model along with many associated tools, accessories and papers. The model represents the Sovereign of the Seas. The Royal Navy ship of the line launched in 1637 has a significant British maritime heritage. These days the Sovereign of the Seas still remains one of the most intricate historic ship models to build, representing to the model enthusiast a true challenge to the art of model shipbuilding. The model of Sovereign of the Seas in Flagstaff Hill's collection is an exemplary example of a ship model built and hand crafted from a plan with the making of every item on the model, not a model kit with prefabricated parts. It was made by a local Warrnambool man Jim Williams as a leisure activity in the mid 20th century. The hobby and craft of ship model making has resulted in visual representations of the changes in maritime technology and advances in world-wide navigation. Ship model of HMS Sovereign of the Seas, a 17th century British warship. The handmade model is in wooden framed, airtight glass case. All components were hand crafted. Many of the tools used were made by the model maker, Jim Williams. An inscribed plaque is within the case. Inscribed on plaque "SOVEREIGN OF THE SEAS / 102 GUNS - 1634"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, model ship, vessel sovereign of the seas, jim williams, james bernard williams, the forth tasmania, freda williams, heather williams, phyllis bowditch, fletcher jones staff 1936, 17th century sailing ship, cramond and dickson, sovereign of the seas, royal sovereign, sovereign, charles 1, ship model