This store was built by Jack Hemley on the site where Ralphy's cafe stands now (2010). The store was Jack Hemley's, then McIntosh's, then Taylor's and in 2010 is Ralphy's.The photo shows a weatherboard building with a "Store & Cafe" sign attached to the roof. There are two chairs and a table on the right side, and two chairs on the left side, of the veranda of the veranda There are daily headline news posters on the front wall and two old posts stand in front of the building on the edge of the (unmade) road.buildings, shops

The cottage was called "Hexham" and was a tourist 'rental' property. It was situated on Mackey's Peak Rd, Halls Gap. It was eventually demolished to make way for a private home.The photo shows a cottage with a verandah, surronded by trees which partly shade the right side. The window frames and door are painted red. A table and chair stand to the right side of the door and a deck chair and an arm chair are on the left side. "Kodacolor print, Kodak, April-71M" stamped on back in pink.buildings, houses

This particular lamp was made for the dinner table or "parlour". This was the most effective indoor lighting before electrical lighting was introduced in the 1940's. These table lights would have still been used after this time as emergency lighting during electrical power shortages (outages). These emergency lighting lamps, including candles, were eventually replaced by battery power. The Kiewa Valley was supplied by electricity well before many other rural regions due to the State Electricity Commission constructing the Kiewa Hydro Electricity power turbines (late 1930's to mid 1950's). Petrol and diesel generators were used in other rural regions before state wide electricity was available.The significance of this kerosene lamp to the Kiewa Valley is that it provides the proof that before the Hydro electricity scheme was established in the valley, householder and commerce relied on candle/kerosene power. Although at certain times before battery and solar energy became the night time lighters the sole source of lighting was candle power and kerosene power. The supply of both however was still required by most of the population by supply from city and larger country town suppliers. This nearly fully glass made table lamp(kerosene) has a large glass bowl/basin like kerosene storage unit with a glass circular finger handle (similar to a ordinary cup). Formed single star like patterns (50mm apart) encircle the centre of the bowl. On top of the bowl sits the metal (brass) wick holder with a small wheel protruding out one side for adjusting the wick length(increasing or decreasing the strength(regulating) of the amount of light projected. Four prongs rise from the circular base light fixture holding the windproof and refractive glass "pot belly" shield. lamp table, kerosene lamp, household lighting (non electrical)

This large bean slicer was first manufactured in the late 1800's in England and exported to Australia. Due to the transportation costs it was not used in many Domestic kitchens. This slicer would have been in a kitchen of a higher socio/economic family within the Kiewa Valley. In the 1930's the manufacturer traded this slicer as "domestic labour-saving slicers". This was the beginning of new generation of the kitchen "gadget". The introduction of the Asian "gadget" manufacturer from the late 1950's saw English export diminish by the cheaper Asian products.This item has great significance because it demonstrates that even "remote rural" locations, such as the Kiewa Valley in the early 1900s still were able to optain "state of the art" labour saving "kitchen" appliances. It was these English and European goods that were made "to last" which brought the mind set "British is best" This mindset was only altered by periods of Australian economic down turns and the cheap Asian product availabilityThis bean slicer is made from cast iron with a round body housing three rotating blades screwed into a riveted spinning base plate. The whole body of this slicer is green with a "natural coloured" handle. A "G" clamp is part of the main frame to fasten the slicer onto a table/counter top (when in use). On the side of the handle and along the top plate "SPONG & Co Ltd" and opposite "BEAN SLICER" below this "No 633"domestic kitchen time savers, food processors, bean slicers

This biscuit/tea caddy was probably targeting the "theatre going" family or those who liked looking at the colourful shakespearian scenes. This item however demonstrates that the rural (Kiewa Valley) appreciation of classic English plays was, in this time period (early 1900's), just as strong as in the larger towns and cities. This item also presents the period in which the "olde" Elizabethian phrases and words were taught in regional high schools. Although this speech pattern and phraseology was of a specific time period and going out of fashion when Australia was first settled it was an inherited form of communication(higher social/economical level). In the context of the rural Australia "scene" and in this time frame of the elite "boarding school" generation this item was a visual reinforcement of the education level and position of the family who owned this tin.This item is highly significant because it not only presents the social aspects of early life in the Kiewa Valley but also the variety of educational levels and economical variations of the rural population within the Kiewa Valley. The egalitarian perception of the inhabitants of the Kiewa Valley was still at the infancy of early Australian social interactions. This biscuit /tea container was however a leveling of the socio-economic playing field of the time.This biscuit or tea tin, has besides having an outer lid (hinged), it also has an internal lid(with a circular finger grip). Although the shape is rectangular it has a slight concave bulge at each side of the centre of each of its main frame. It is made of pressed light steel and has a raised floor. The corners are bevelled and the outer lid has a bevelled slope ridge in parallel to the extremities of the main tin frame. There are painted scenes from the following Shakespearian plays on each side of the tin; "As you like it", "Hamlet" and on each of the bevelled corners are the portraits of Shakespeare(in the middle), the caricature mask faces of "the theatre" above and on the bottom section the "Director's chair"food storage, kitchen table container, domestic educational storage, shakespeare illustrations

This book of planning and construction details covers the first detailed records the Kiewa Hydro Electricity Scheme of 1919 (ORIGINAL), 1958 (2nd Modified Plan) to the last general plan of 1961. It is an excellent overview of one of Australia's greatest construction projects (along with the Snowy River Hydro Scheme). This book highlights in detail the planning, programming and construction phases throughout the life of the construction from 1919 onwards until the 1960's. There were a few copies made using carbon paper and a type writer on foolscap paper.This book with its Parts A to D, photographs and plans/tables is very significant to the Kiewa Valley region as it details "the bones" of one of Australia's greatest construction projects that was undertaken by Governments that had the foresight and the will to undertake such a costly and environmentally imposing project for the benefit of their states and their country. This project was at a time when financial and security pressures where at a high and fluctuating level. This project was the major contributor to the expansion and diversity of non rural activities within the region. It was directly and indirectly the cause of better transportation avenues, tourism and the lifting of the regions natural facilities to sustain an ever increasing long term and short term population.This large hard (thick cover) book has both front and back sides fastened to the spine by two brass screw on pins. The book title, author/compiler and the commissioning organisation (STATE ELECTRICITY COMMISSION OF VICTORIA) together with the SEC Vic emblem are all embossed in gold script.The spine is also embossed with the title. The book contains 396 pages consisting of the 390 pages which are the duplicate(carbon copy) of the original type written pages and 6 pages of site plans. Sprinkled throughout the book are 36 original photographs of various stages of construction. There are also 17 sketches/plans scattered throughout and 22 tables.Title "KIEWA HYDRO ELECTRICITY SCHEME TECHNICAL HISTORY" author and compiler "H.H.C.WILLIAMS" below this "STATE ELECTRICITY COMMISSION OF VICTORIA"kiewa hydro electricity scheme, victorian state electricity commission, history, proposals, kiewa scheme's plans, book, h.h.c. williams

This cast iron kitchen appliance was made in England in the early 1900's and shipped to the "colony" Australia. This was before World War II and the "growing up" of a colony to an independent member of "the British Commonwealth". It was a period when most appliances (be they household) where manufactured in England and shipped to Australian ports. It was not until the late 1960's that the Asian manufacturing giant woke up and started to dominate the market palce.This domestic kitchen appliance is very significant to the Kiewa Valley because it highlights the "made at home" period when food processing was made "in house" due to inability to source food from specialised shops e.g. the butcher or slaughter houses. It was a period before mass food processing factories were established and roads constructed up to the standard for distribution to semi remote regions such as Kiewa Valley was in the beginning of the 1900's.This cast iron (malleable iron) mincer for meat products has a large "funnel" to direct "chunks" of meat to the grinding "wheels". These "star" shaped wheels with "teeth" of three different cutting surfaces (fine, medium and coarse) provide for texture types of the final meat product. The meat is placed into the "loading" funnel and push downwards(gravity feed) through the mincing chamber and out through the front side. There is a long "screw worm" which is rotated by turning the handle. The appliance is table mounted by a vice "G" screw on clamp (hand operated). "BEATRICE No. 3" and "MADE IN ENGLAND", "P 3181"household cast iron appliances, food processors

A compendium of of the most important and influential military vehicles that have been in service since World War 1. Each vehicle featured is illustrated by a full-colour side-profile artwork, and accompanied by a detailed specifications table giving country of origin, crew, weight, dimensions, armour, armament, powerplant and performance, all measurements in imperial and metric. Accompanying text for each vehicle summarises its development and service history.ISBN 1-84013-338-4world war 1, world war 2, military history, tanks, armour, armoured fighting vehicles, wheeled infantry vehicles, anti aircraft guns, military vehicles, philip trewhitt, world war 1, world war 2, military history, tanks, armour, armoured fighting vehicles, wheeled infantry vehicles, anti aircraft guns, military vehicles, philip trewhitt

Square cardboard box with a coloured illustrated lid with 'Tala' / Icing Set / How to Ice a cake. On one side of the box - 12 icing tubes in this set; Tala Icing set containing syringe, 12 tubes, turn table, icing book no. 1730, copyright design made in England. On the other 2 sides (opposite to each other.) Let all your kitchen ware be Tala - illustrated. Turning table is tin. 200mm outer stand, circle turntable 140 mm. Book: 'How to decorate a cake booklet' - 130 mm long x 195 mm wide and 5 mm thick; Pink plastic tray indented to hold metal cones 12 cones tubes each with different opening at the point. Icing syringe (nickel silver with brass collars). Plastic icing cone, Tala ware, Made in England 320 mm long, circumference 30 mm at point x 210 mm wideSee description.cooking, baking, icing, cakes, domestic, decorating

This medical / hospital instrument was used in the Tawonga District General Hospital which was built in the 1950's specifically for the increase in population due to the Kiewa Hydro Scheme.Historical: Shows the development of scientific hospital equipment. Provenance: Used in the Tawonga District General Hospital which was remote and therefore required good equipment. Good condition and good interpretation capacity.Steel vice with 5 rods at right angles to the bottom plates and a handle on the opposite side attached to the square shaped rod. The handle is covered with a wooden hand piece enabling this square shaped rod to be rotated for winding bandages. The other 4 rods are cylindrical. The handle of the vice can be screwed down to fit onto a table or bench.Handle of the vice: '2697'bandage winder, medical, hospital, tawonga district hospital

This item could have been used by a woman who had reasonably good hand stitching and patchwork skills. The time period would be before the 1950's as post 1950s this item would have been commercially available from any medium populated towns Historically this particular item would have been one before circa 1950s, when haberdashery shops would not have been so readily accessible for those families living in the Kiewa Valley. The protection of side boards indicates that furniture at that time was required to look good and last longer. Pride of the family household furniture was also very highTable or dressing table cover made of calico. Hand stitched into Suffolk puffs, large 12 cm in diameter, small 4.5 cm in diameter. 8 large and 103 small ones. All hand stitched together. Hand madepatchwork, calico, hand stitching, home furnishing, furniture coverings

This Item is one of four bedroom items hand made in circa 1900 by Amalihe Pierin. Her Son brought the item when he emigrated to Australia and members of the family still reside in the Kiewa Valley. Historically this item represents the requirement by families to manufacture a whole range of bedroom coverings due to the lack of professionally manufactured goods. Isolation from big towns or cities required local seamstress activities and therefore closer social bonding was a necessity. Although this item was transported from Italy to Australia by the son of Amalihine Pierin the significance still remains the sameLinen (white) cut work and embroidered central design tatting diamond shape with embroidered scrolls either side cut work leaves top and bottom L shaped tatting inner border with triangular tatting 2cm outer bordered hole patternembroidery, handcrafts, bedroom linen, trimmings, cut work

This SEC cook book was produced circa 1950s when the Kiewa Hydro Electricity Scheme and its Commission was in full swing. The Commission had constructed two settlements, Mount Beauty and Bogong Village to house construction workers and their families in a "closed" community. These "closed" communities were for SEC staff and construction workers only. Entry into these villages was restricted to "SEC pass" carrying construction staff and their families. All facilities such as retail, sporting and other community services was provided by the SEC. This created an isolated community in which limited individual choice or administrative family leeway was available. It was a typical company town (live and work for the company). The Company was in the Kiewa Valley constructing power stations for the Kiewa Hydro Electricity Scheme of Victoria. In one way the individual did not need to be concerned with living costs, educational needs for children, and recreational amenities and therefore "normal" community survival /living methods did not apply. This living, although restrictive, was quite simple. When the scheme was completed, in 1961, marking the end of company town, caused some of the employees, who had enjoyed the "controlled" township environment, a fair degree of angst in having the new 'laissez-faire" controls thrust upon them. This was magnified when both Mount Beauty and Bogong Village became meshed into the Bright Shire, vis-a-vis, local government. This cook book is a prime example of " the company is looking after you" and leave the worrying to us. This environment of a "company town", which creates the atmosphere of minimal personal responsibilities, is still present in a few remote mining towns in Australia at the beginning of the 21st Century.This book is a classical example of the psychological control in which the company had its construction workers families living in. The motto of many companies who had employees in isolated regions was "keep them happy". A happy and contented worker is a more productive worker. This was a period in time (1950s to 1970s) when social psychology was gaining recognition in the Australian workforce as well as internationally. At the end of the construction of all the power stations both the Mount Beauty settlement and the Bogong Village became more integrated into the main stream of rural Australia environment. Development of tourism in the region opened up not only interaction with a greater cross section of the ever expanding type of Australian but also the overseas based non rural culture tourist or immigrant. It allowed the intermingling of ideas in a non company controlled environment. The Mount Beauty and Bogong Village has, and even up to the 3000 Millennium, the same housing construction, as was built by the SEC. There has only been a very gradual change to modern domestic architectural home styles. This SEC cookbook has a folded cover with two staples at the spine, securing eight double sided pages. The white pages contain black print and sketches(3), and one black and white photograph (of the author). The front cover is mainly orange in colour with a gradual fading into yellow(at the top). The cover is approximately 210 g/m2 in thickness and each page is approximately 90 g/m2 thick. Front cover: top of page "SEC Cook Book of Family Favourites", in the middle a sketch, black on orange background, of a smiling mother walking from the kitchen to the dining table with a steaming rolled roast and vegetables in one hand and a gravy pot in the other. The furniture and decor relates to the 1950s. Below this sketch is printed"SEC TESTED RECIPES NO. 16" Inside cover: on top of the page is a black and white sketch of a pineapple, apple pear fish with scales, bunch of grapes with leaves a pork roll (head of pig one end and a roll ending on the other, on top of this food arrangement rests a fruit pie. Below this sketch are printed in black print the books contents.The first side of the first page is a black and white photograph Mary Dunne, the SEC Home Service supervisor who provided a signed foreword. The inside back cover has a promotional segment detailing a black and white photograph of a smiling (and happy) couple in the foreground with an electric stove in the distance. The written motto below this photograph is" to Live better -and save money they'll join the Power People. "the new tariff is(1960s) - First 75kWh --6 cents per kWh Next 435 kWh---2.3 cents per kWh Balance --1.7 cents per kWh The rate per killowatt-hour for the final block drops from 2.1 cents to 1.7 cents --a reduction of 19%.cooking recipes circa 1950s, domestic food, sec victoria cook books, recipes circa 1950s

A hand made wooden chip carved bottle holder ( a style of carving in which knives or chisels are used to remove small chips of the material from a flat surface in a single piece). It is an intricate design and has a tall handle with two wide holes on each side.bottle-holder domestic table-setting handcraft carving

This guillotine is a hand operated machine specifically designed to cut through multiple sheets of paper or card. It has a very heavy and sharp single blade knife mounted between vertical guides or runners. The main users of a machine like this is in by the printing and publication binding industry. Book binding companies use a guillotine to evenly trim the pages of a book after it has been bound. The way the guillotine is used is - paper or card is stacked squarely on the flat table and pushed firmly against the back guide - the handle below the table at the front of the machine is wound around, which brings the back guide forward, pushing the paper stack forward and positioning the centre of the stack below the vertical frame - the upper wheel is wound around, which brings the clamp and firmly in position on top of the paper, to hold it very firmly - the large wheel on the side of the machine is turned around to lower the long sharp blade down onto the pages and cut them through. The sharp edge of the blade is protected somewhat from becoming blunt; a block of wood sits in the table under the stack of paper An early model of a guillotine was patented in 1837 by Thirault, who built a model with a fixed blade. Guillotines similar in principal to this one were patented by Guillaume Massiquot in 1844 and 1852. Over the years many improvements have been made and operation has moved from man power to electricity. Oscar Friedheim Ltd. was the importer and wholesaler of a large range of machinery and equipment for the printing and bookbinding industry. He sold most of his equipment under his own name. On this guillotine or paper cutter he refers to the origin of the guillotine’s manufacture only as “German Manufacrure”. A reference book “Commercial Bookbinding: a description of the processes and the various machines used" by Geo. Stephen, 1910, recommends Oscar Friedheim, amongst others, for the supply of “reliable cutting machines for hand or power”. It also recommends Oscar Friedheim’s for a wide range of other printing machinery and processes. OSCAR FRIEDHEIM LIMITED, LONDON Oscar Friedheim Ltd. was established in 1884 and operated from Ludgate in London. The company was an importer and wholesale supplier in the 1880’s, offering machinery and equipment for the printing and packaging industry for the UK and Ireland. The company became incorporated in 1913. An advertisement of 1913 includes a telegraphic code plus two telephone numbers for Oscar Friedheim Ltd and invites readers to call at the Ludgate, London, showrooms to see the machines working. The company later became Friedheim International Ltd. The book titled “Friedheim, A Century of Service 1884-1984 by Roy Brewer, celebrates Oscar Friedheim’s achievements. Friedheim International currently operates from Hemel Hempstead, on the northern outskirts of London UK. It promotes itself as “… the leading supplier of finishing, converting and packaging machinery to the printing, graphic arts, and highly varied packaging industries in the UK and Ireland. The company’s policy is simple – “employ the best people, work with the best equipment manufacturers in the world, and treat our customers as partners!” The company still sells guillotines. The guillotine is significant for its ability to represent aspects of the printing trade in Warrnambool and in a typical port town circa 1850 to 1910. It represents communication methods and processes used in the time before electrically powered equipment became common in industry.Guillotine (or paper cutter), hand operated. Metal framework with vertical guides, stand and metal mechanical parts including wheels and gears. Table with back guide; handle below front of table winds to move the back guide. A wheel at top of machine winds to adjust pressure of the clamp on the work on the table below it. The cutting blade fits between vertical guides; a timber insert in the table below the blade helps minimise the loss of sharpness of the blade. A handle on the side of the machine turns a large spoked wheel, which rotates a large gear, causing the blade to move up and down. Makers details are on a small oval plaque with embossed maker’s details is screwed onto main body. Maker is O Friedheim, London, and the machine is of German manufacture, circa late 1880’s.Maker’s plaque inscribed "O. FRIEDHEIM / London / German Manufacture"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, printing machinery, printer’s guillotine, paper guillotine, paper cutter machine, oscar friedheim ltd london, friedheim international ltd, bookbinding industry, printing industry

Naturally, we tend to take commonplace objects for granted, because they have always been there. Yet how many of you actually have thought “hey, where do forks come from?” Well, it takes one trip to China and a 3-year-old laughing at your face because of your desperate attempt to eat with chopsticks to finally appreciate something so ordinary such as a fork. So, where do forks come from? The early history of the fork is obscure. As a kitchen and dining utensil, it is believed to have originated in the Roman Empire, as proved by archaeological evidence. The personal table fork most likely originated in the Eastern Roman (or Byzantine) Empire. Its use spread to what is now the Middle East during the first millennium AD and then spread into Southern Europe during the second millennium. It did not become common in northern Europe until the 18th century and was not common in North America until the 19th century. Carving fork from 1640. Source: Wikipedia/Public Domain Carving Fork from 1640. Source: Wikipedia/Public Domain Some of the earliest known uses of forks with food occurred in Ancient Egypt, where large forks were used as cooking utensils. Bone forks had been found on the burial site of the Bronze Age Qijia culture (2400–1900 BC) as well as later Chinese dynasties’ tombs.The Ancient Greeks used the fork as a serving utensil. Read also: Steven Spielberg to Remake the Classic Musical ‘West Side Story’ In the Roman Empire, bronze and silver forks were used. The use varied according to local customs, social class and the nature of food, but forks of the earlier periods were mostly used as cooking and serving utensils. The personal table fork was most likely invented in the Eastern Roman (Byzantine) Empire, where they were in everyday use by the 4th century (its origin may even go back to Ancient Greece, before the Roman period). Records show that by the 9th century a similar utensil known as a barjyn was in limited use in Persia within some elite circles. By the 10th century, the table fork was in common use throughout the Middle East. Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain The first recorded introduction of the fork to Western Europe, as recorded by the theologian and Cardinal Peter Damian, was by Theophano Sklereina the Byzantine wife of Holy Roman Emperor Otto II, who nonchalantly wielded one at an Imperial banquet in 972, astonishing her Western hosts.By the 11th century, the table fork had become increasingly prevalent in the Italian peninsula. It gained a following in Italy before any other Western European region because of historical ties with Byzantium and continued to get popularity due to the increasing presence of pasta in the Italian diet. At first, pasta was consumed using a long wooden spike, but this eventually evolved into three spikes, design better suited to gathering the noodles. In Italy, it became commonplace by the 14th century and was almost universally used by the merchant and upper classes by 1600. It was proper for a guest to arrive with his fork and spoon enclosed in a box called a cadena; this usage was introduced to the French court with Catherine de’ Medici’s entourage. In Portugal, forks were first used at the time of Infanta Beatrice, Duchess of Viseu, King Manuel I of Portugal’s mother around 1450. However, forks were not commonly used in Western Europe until the 16th century when they became part of Italian etiquette. The utensil had also gained some currency in Spain by this time, and its use gradually spread to France. Nevertheless, most of Europe did not adopt the use of the fork until the 18th century. Read also: The 8 Most Famous ‘Functioning Alcoholics’ in History Long after the personal table fork had become commonplace in France, at the supper celebrating the marriage of the Duc de Chartres to Louis XIV’s natural daughter in 1692, the seating was described in the court memoirs of Saint-Simon: “King James having his Queen on his right hand and the King on his left, and each with their cadenas.” In Perrault’s contemporaneous fairy tale of La Belle au bois dormant (1697), each of the fairies invited for the christening is presented with a splendid “fork holder”. The fork’s adoption in northern Europe was slower. Its use was first described in English by Thomas Coryat in a volume of writings on his Italian travels (1611), but for many years it was viewed as an unmanly Italian affectation. Some writers of the Roman Catholic Church expressly disapproved of its use, St. Peter Damian seeing it as “excessive delicacy.” It was not until the 18th century that the fork became commonly used in Great Britain, although some sources say that forks were common in France, England, and Sweden already by the early 17th century. Spaghetti fork By Lady alys - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=6414948 Spaghetti Fork By Lady alys – Own work, CC BY-SA 3.0, The fork did not become popular in North America until near the time of the American Revolution. The curved fork used in most parts of the world today was developed in Germany in the mid 18th century while the standard four-tine design became current in the early 19th century. The fork was important in Germany because they believed that eating with the fingers was rude and disrespectful. The fork led to family dinners and sit-down meals, which are important features of German culture. https://www.thevintagenews.com/2016/08/31/priority-fork-came-italy-european-country-pasta/?chrome=1Serving fork, two prongs, with a shaped wooden handle. Badly rusted.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, food, meat, carving

Dressing tables (also known as Vanity Tables in the U.S.A.) have been around since the beginning of the seventeenth century, however it wasn't until the early to mid 20th century that they began to be found in the homes of the middle class and they were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery and trinket boxes and trays. The origins of this tray are unknown however its design is reminiscent of trays (and Dressing Table Sets) produced by two English firms in the mid 20th century - "Delina" and "Regent of London". A paper (written by the Warwickshire Industrial Archeology Society) notes that the products items produced by "Regent of London" in the 1940's "satisfied a demand for previously unattainable items, offered to the general public aching for change after wartime privations, post war austerity and years of having to 'make do and mend'." This tray is composed of several decorative elements and materials. The metal border is gilt brass with two filigree bow handles, the main part of the tray is two pieces of circular glass and the encased doily is a mix of embroidered net and petit point. It was suggested in the paper written by the Warwickshire Industrial Archeological Society that the different pieces would have probably been produced elsewhere and brought to the factory to be assembled into the finished product. This vanity or dressing table tray is significant as it is a rare example of an accessory available to and used by women in the mid 20th century. It is also significant as an example of an everyday household item which would have been a valued possession and was made in a style that reflected the importance placed on it to be decorative as well as functional.Round footed dressing table tray with a gilt brass border, filigree bow handles and an embroidered net and petit point doily encased in glass. The gilt border is decorated with a stylized leaf design on the side and a floral design on the top. The petit point embroidery in the center is of five flowers in pink, mauve and yellow surrounded by buds and leaves.vanity tray, dressing table tray, glass tray, gilt brass, petit point, embroidery, net embroidery, doily, filigree, brass tray, flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Bay of Biscay, Hopkins River, Warrnambool – This same image was published in Table Talk on January 6th, 1910 and in The Age, on December 18, 1929, referred to a revival of fishing at the Bay of Biscay on the Hopkins River. These and similar articles showcased the Bay of Biscay as a popular boating and fishing location and well worth promoting to places outside of Warrnambool. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.The image of the figures in a row boat on the river suggests that the location was a popular place to visit. The choice of subject for this postcard indicates the popularity of Warrnambool's natural environment as a tourist attraction at a time when ships called coastal traders brought passengers and cargo to the Port of Warrnambool from ports along Victoria's southwest coast. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, portrait orientation, coloured print within a rectangle border with an impressed line around the image and a title in red. The picture shows three figures wearing hats in a rowboat on the bank of a river beside cliffs. There is no correspondence written on the card. The back has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “Bay of Biscay, Hopkins River, Warrnambool” Back in green: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, bay of biscay, fishing, boating

Dressing tables have been around since the beginning of the seventeenth century. However, it wasn't until the early to mid-20th century that middle-class homes included them in their furniture. They were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery trinket boxes, trays and pin bowls or pin trays. The latter were small shallow containers used for storing hat pins, hair pins, safety pins, and perhaps earrings. They were made of various materials including glass, metal and ceramic.This pin bowl represents an era in the early-to-mid 20th century when matching dressing table accessories were popular and affordable to middle-class women. They were marketed as gifts and sometimes included perfumed soap and powder.Pin dish, round, cut glass, slightly convex sides without a pattern. Thick heavy, concave base with a concertina fold pattern.flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table, dressing table tray, glass tray, pin tray, pin bowl, dressing table accessory

Dressing tables have been around since the beginning of the seventeenth century. However, it wasn't until the early to mid-20th century that middle-class homes included them in their furniture. They were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery trinket boxes, trays and pin bowls or pin trays. The latter were small shallow containers used for storing hat pins, hair pins, safety pins, and perhaps earrings. They were made of various materials including glass, metal and ceramic.This pin bowl represents an era in the early-to-mid 20th century when matching dressing table accessories were popular and affordable to middle-class women. They were marketed as gifts and sometimes included perfumed soap and powder.Pin bowl; a light weight, round bowl with straight sides featuring a cut glass pattern, and a flat base with a star design.flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table, dressing table tray, glass tray, pin tray, pin bowl, dressing table accessory

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Two photographs - .1) a sepia photograph of a seated man in uniform leaning with arms crossed on a marble topped table. A baton is held in his right hand. On the table is lying a cornet. The man is Frank Wright and the uniform is from the Soldiers Memorial Band .2) the same photo in black and white only largerBoth photographs have Richards & Co. Ballarat embossed in the bottom right hand corner. .2) has a Richards & Co. Photographers Ballarat stamp on the reverse sidefrank wright, cornet, soldiers memorial band, uniform, baton

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia. There is a mix of coloured and black and white photographs. Two Photographs, of one of six gentleman and one of five gentleman sitting around a table on an oval adjudicating a competition. Another three photographs is of three gentleman standing on the same oval discussing results, another is of 4 gentleman sitting around a table in the stadium adjudicating.A photograph of four men standing outside the gates of Wereldmuziekconcours - Kerkrade, and four more photographs of the gates of Wereldmuziekconcours - Kerkrade which have a Treble Clef above the gates two are taken in the day time and two at night.1962 written in pencil on the reverse side of the photographsfrank wright, wereldmuziekconcours - kerdrade 1962 adjudicating

The Great Bath is a massive pool, lined with 45 sheets of lead, and filled with hot spa water. It once stood in an enormous barrel-vaulted hall that rose to a height of 40 metres. For many Roman visitors this may have been the largest building they had ever entered in their life. The bath is 1.6 metres deep, which was ideal for bathing, and it has steps leading down on all sides. Niches around the baths would have held benches for bathers and possibly small tables for drinks or snacks. A large flat slab of stone is set across the point where hot water flows into the bath. It is known today as the diving stone. The Roman Baths complex is a site of historical interest in the English city of Bath. The house is a well-preserved Roman site for public bathing. The Roman Baths themselves are below the modern street level. There are four main features: the Sacred Spring, the Roman Temple, the Roman Bath House and the Museum, holding finds from Roman Bath. The buildings above street level date from the 19th century. Sepia postcard of a section of the Great Roman Bath at Bath, Somerset featuring the Diving Stone.printed verso: The Diving Stone in the great roman bath. The Diving stone, at the north-west corner of the great Roman Bath, still shows where the feet of bygone bathers wore away its surface. The hot mineral waters flowed into the bath through a channel under this stone. chatham-holmes family collection, bath, great roman bath, swimming pool

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. General Design examinations required only designs on paper, and not the full execution of an object (which was the case for Applied Design exams). Watson's folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. A folio of thirty three drawings and paintings undertaken by Alice Watson at the Ballarat Technical Art School. The works include including the application of Australian flora to designs, including for pottery, leather and applique. .2) is a design for a table runner to be executed in richelieu work .3) frieze including fish .4) "Design for a border to be executed in stencil". 1932 .12) "Design on the waratah for a bowl to be executed in clay". 1932 .14) "Time test" .12) .17) .15) .18) show the combination of Australian flora with Art Nouveau-inspired designs .9) is a design for a wallet to be executed in raffia showing elevation, side elevation and plan views .11) is a design for a prayer book carrier to be executed in leather work .10) is an example of pencil transfer method of design seen on .11) .18) Design for a fan, image of birds and berries on a blue ground. .25) landscape illustration .27) "development" design based on a correa .29) "Design for a tea cosy based on the Cobia-Scanden to be executed in applique. 1931 (see also .31) .30) "Design for a writing tablet to be executed in embossed leather work and based on the native fuschia" (correa). 1931 .31) a completed doily holder: applique workMost are signed A. Watson 1931 .2) Paper is embossed with stamp of 'Goodall's Bristol Boards' stamp. (Crown depicted in centre) .20 and .22) Paper is embossed with 'Windsor & Newtons Bristol Board' stamp.(Griffin depicted in centre)ballarat technical art school, alice watson, flora, design, artwork, folio, art nouveau, alumni, leather work design, richelieu work, applique, doily holder, doyley holder, general design, edith alice watson

The poster advertises the new ship "The Great Britain", built in 1852 and owned by the Eagle Line of steam packets, sailings between Australia and Liverpool, and other vessels owned by the company. The Great Britain was an iron screw steamer, 3,500 tons, & 500 horse power, built for the Eagle Line in 1852 and its Commander was B.L. Matthews. Passengers had a choice of accommodation; the After-Saloon, Fore-Saloon and Second Cabin. A scale on the poster lists the provision of food for each day of the week, for Fore-Saloon and Second Cabin passengers. The lists of agents English and Australian offices.The poster is significant for its connection to migration between England and Australia in the 1850's. The information includes the rationing of food on a daily basis to different classes of passengers, and the class distinctions made for accommodation, and provision made for children and servants. The poster also connects to the various ships of the Eagle Line and the captains of the ships.Double-sided printed pamphlet, behind glass on both sides, with a timber outer frame. The pamphlet is about the sailing of the new packet steamer "Great Britain". dispatched from Port Phillip (Melbourne, Victoria) to Liverpool (England) in 1852. Lind drawing of a sailing ship on water. Tables of Provisions for Fore Saloon Passengers, Second Cabin Passengers, Shipping Agents and ships in the Liverpool "Eagle Line" of Packets. A label added to the poster has details of the previous owner of the poster."EAGLE LINE" "THE GREAT BRITAIN" B.R. MATTHEWS" "FARES" SCALE OF PROVISIONS FOR FORE SALOON" "AGENTS IN ENGLAND" "AGENTS IN AUSTRALIA"" GIBBS, BRIGHT & CO." SAILING SHIPS" Typed onto the label "Property of: / Shiplovers' Society of / Victoria. / See other side for scale / of provisions etc., / for passengers."flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, poster, the great britain, eagle line, steam packet, liverpool, port phillip, b.r. matthews, screw steamer, 1852, scale of provisions, fore-saloon, after-saloon, second class, gibbs bright & co., g. seymour, samuel irvan & co, h.l. allen, george pim & co., t.l. holder, j.c. matthews, yates &o corkling, r.w. winfield, davy & co, crawley & smith, octavius brown &o co., w.m. younghusband &o co, albatross, osprey, condor, eagle, falcon, petrel, salacia, zealand, bloomer, capt. geves, capt. honeyman, capt. daly, capt. boyce, capt. taylor, capt. chapman, capt. brown, capt. simonds

The subject item is essentially a 19th century development of the 18th century basin stand, the washstand had assumed a regular table form by about the 1830s, usually with a marble top and pot board beneath. The earlier timber top washstands had a timber splash back, while the marble top washstands usually had a matching marble splash back often with a small semicircular shelf for the soap dish, or a tiled splash back. Many washstands had a hole cut into the top to contain the china wash basin. Washstands were generally supported on pedestal, scrolled or cabriole legs, in keeping with the dressing table with which they were often made en suite. Edwardian washstands like most furniture of the period were much more rectangular in outline, with squared corners and (Lassetter) fairly plainly turned legs. They sometimes had a cupboard below the marble top. The back was usually tiled, often featuring the Art Nouveau motifs washstands were used until the 1920s. Wash stand wooden opening in top for basin, 3 raised sides, 4 turned legs, Lower shelf broken at front, has remnant black stain. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wash stand

Tapestry is a form of weaving and is most commonly made on a loom, but traditionally, from 11th to the 19th centuries, made by hand. When used as a table cover, items such as this one were often covered and protected by a lighter weight, easily washable tablecloth. This tapestry tablecloth has a soft velvet feel. It has seen many days and has been lovingly repaired in several places with dark patches on the underside. This tapestry tablecloth represents heavy duty table coverings used to protect furniture and as a form of decoration. It is an example of what was used in the Colonial and Early Settler days in Australia.Tablecloth or table cover, rectangular tapestry in burgundy and red tones. A burgundy is around all sides with a floral inner border, framing a decorative oval centrepiece of floral design on a red background. the short sides are reinforced with tape on the underside. The cloth has been carefully repaired on the underside. There are pin marks on the tape in one corner.flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum and village, maritime museum, tablecloth, tapestry, table cover, table linen, manchester, vintage, arts and crafts

This small medicine glass has ho manufacturer's or owner's marks. It has no side seams, the base is slightly concave, the embossed inscriptions are inside the glass, the clear glass has slight imperfections and ripples, and the glass is slightly opaque below the lip; these features point to the glass being blown into a mould, partially set, and spun between that mould and an internal mould that had the embossing on it, called a turn-mould process. The lip was then ground to be smooth. The process was patented in 1887 with the title of "Mold for blowing turned bottles".This medicine glass is significant as an example of medical equipment that has a design still used today. It is significant also for having the embossing inside the glass, which was likely produced by the turn-mould method of bottle (and container) making.Medicine glass or dose cup; clear glass with small imperfections and ripples in the glass, no side seams and a slightly concave base. All embossed marks are inside the glass. The imperial measurements are in graduated scales for tablespoons, teaspoons, and ounces and drachmas. "OUNCES DRACHMS" "TABLE TEA"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, medicine glass, measuring glass, dose cup, medicine dispensing, medicine measurement, sambell pharmacy warrnambool, sambell chemist and dentist, internal embossing, glass embossed inside, 20th century chemist, blown glass, two-piece mould, turn-moulded glass, turned bottles

Alice Watson completed a course of work at the Ballarat Technical Art School, a division of the Ballarat School of Mines. Her complete folio is held by Federation University Australia. Nine works were undertaken at the Ballarat Technical Art School by Edith Alice (Alice) Watson. Seven pencil sketches on paper. Two black ink drawings on paper .1 has sketches on both sides; .2 pen and ink table and chair design; .3 pencil sketch of a castle; .4 sketches on both sides - pen and ink doorway and on reverse pencil and water colour (partly coloured) wallpaper border design; .5 pencil sketch of a well and a church; .6 two pencil sketches of bridges; .7 three pencil sketches - two of partial rooves and one of a bridge drawn from a photo; .8 three pencil sketches - a window, a doorway and a thatched roof cottage; .9 pencil sketches on both sides - a village scene with gateway, church and cottages on one side and trees on the reverse. .3 lrs "A. Watson Pencil Sketch" .4 ink sketch tr "New Door" .5 lrs "Pencil Sketches A. Watson" .6 lrs "Pencil Sketches A. Watson" .7 rs" Pencil Sketch", under bridge drawing "Pencil Sketch from Photo", lrs "A. WATSON" .8 lrs "Pencil Sketches A. Watson .9 Village scene - lrs" A.Watson Pencil Sketch" ballarat technical art school, ballarat technical art school number 10, ballarat school of mines, alice watson, edith alice watson, artwork, architecture, alumni, pencil sketches, sketches of buildings