This sewing machine accessory was donated with our collection's Wertheim sewing machine accessory box. The box contains twelve accessories, the instruction book and the receipt for the purchase of a Wertheim sewing machine. The receipt was written on July 23rd 1891 by the Wertheim distributor in Melbourne, Hugo Wertheim. His business was the Wertheim Sewing Machine and Hapsburg Piano Depot, trading at 173 Williams Street, Melbourne. The purchaser was Mrs Burrowes from Burrumbeet, Victoria, a district northwest of Ballarat. She paid £6-6 (six pounds and six shillings) in cash. The receipt was signed by H. Wertheim and the other signatory looks like John A. Cherry. Hugo Wertheim (1854-1919) was an agent for his father’s cousin Joseph Wertheim, a well-established sewing machine manufacturer in Germany. He was born in Lispenhausen, Germany, and migrated to Melbourne in October 1875, where he opened a merchandising business at 39 Flinders Lane East. He returned to Germany in 1885 to marry Joseph Wertheim's daughter Sophie Emilie. The couple came back to Melbourne, and Hugo quickly established a substantial business selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He exhibited at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. One of his staff was O. C. Beale, who later set up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Hugo Wertheim opened a piano factory in Richmond, Melbourne, aiming to produce 2000 pianos and player pianos a year, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis in 1919 at his home in South Yarra. His eldest son, Herbert Joseph (1886-1972), continued the business. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices. The Wertheim Sewing Machine Company – Joseph Wertheim (1804–1899) founded the company in 1868 in Frankfurt, Germany. At this time Joseph was the Frankfurt city delegate for the Democratic Party. At its height, the Wertheim factory employed approximately 650 workers. The company used a trademark of a dwarf holding a hammer which is known to have been used until at least 1925, however in 1909 a Star of David was also registered. In 1870 a Wertheim subsidiary was formed in Barcelona, Spain. The business imported and sold complete machines, including the English Jones machine. Locals began calling the sewing machines “las rapidas”, and the business became known as “las casa de las rapidas”. In 1915 production began of a totally manufactured Spanish Wertheim machine. Wertheim in Germany continued manufacturing machines until 1932 when the Wertheim family fled to Spain. Despite converting to Christianity from Judaism, they feared the political unrest in Germany during that time. Wertheim Spain became Rapida SA and was then the sole manufacturer of the Wertheim machines. The factory was managed by Karl Wertheim under the alias Carlos Vallin.The sewing machine accessory is part of a donation that connected to domestic life in 1891 during the Victorian era. It is significant for connecting the Melbourne distributor of Wertheim sewing machines, Hugo Wertheim, to Victoria’s northwest district where the purchaser lived. It is also significant for connecting the Melbourne distributor to the importing of goods from the well-known German manufacturer of early domestic sewing machines, Joseph Wertheim. Adjustable binder for a Wertheim sewing machine. Made by Joseph Wertheim, Germany, and distributed by Hugo Wertheim, William Street Melbourne. Circa 1891flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, wertheim, sewing machine, victorian era, sewing machine accessory, wertheim sewing machine and hapsburg piano depot, wertheim sewing machines, sewing machine foot, seamer foot, domestic machines, dressmaking, home industry, fashion, binder

This sewing machine accessory was donated with our collection's Wertheim sewing machine accessory box. The box contains twelve accessories, the instruction book and the receipt for the purchase of a Wertheim sewing machine. The receipt was written on July 23rd 1891 by the Wertheim distributor in Melbourne, Hugo Wertheim. His business was the Wertheim Sewing Machine and Hapsburg Piano Depot, trading at 173 Williams Street, Melbourne. The purchaser was Mrs Burrowes from Burrumbeet, Victoria, a district northwest of Ballarat. She paid £6-6 (six pounds and six shillings) in cash. The receipt was signed by H. Wertheim and the other signatory looks like John A. Cherry. Hugo Wertheim (1854-1919) was an agent for his father’s cousin Joseph Wertheim, a well-established sewing machine manufacturer in Germany. He was born in Lispenhausen, Germany, and migrated to Melbourne in October 1875, where he opened a merchandising business at 39 Flinders Lane East. He returned to Germany in 1885 to marry Joseph Wertheim's daughter Sophie Emilie. The couple came back to Melbourne, and Hugo quickly established a substantial business selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He exhibited at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. One of his staff was O. C. Beale, who later set up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Hugo Wertheim opened a piano factory in Richmond, Melbourne, aiming to produce 2000 pianos and player pianos a year, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis in 1919 at his home in South Yarra. His eldest son, Herbert Joseph (1886-1972), continued the business. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices. The Wertheim Sewing Machine Company – Joseph Wertheim (1804–1899) founded the company in 1868 in Frankfurt, Germany. At this time Joseph was the Frankfurt city delegate for the Democratic Party. At its height, the Wertheim factory employed approximately 650 workers. The company used a trademark of a dwarf holding a hammer which is known to have been used until at least 1925, however in 1909 a Star of David was also registered. In 1870 a Wertheim subsidiary was formed in Barcelona, Spain. The business imported and sold complete machines, including the English Jones machine. Locals began calling the sewing machines “las rapidas”, and the business became known as “las casa de las rapidas”. In 1915 production began of a totally manufactured Spanish Wertheim machine. Wertheim in Germany continued manufacturing machines until 1932 when the Wertheim family fled to Spain. Despite converting to Christianity from Judaism, they feared the political unrest in Germany during that time. Wertheim Spain became Rapida SA and was then the sole manufacturer of the Wertheim machines. The factory was managed by Karl Wertheim under the alias Carlos Vallin. The sewing machine accessory is part of a donation that connected to domestic life in 1891 during the Victorian era. It is significant for connecting the Melbourne distributor of Wertheim sewing machines, Hugo Wertheim, to Victoria’s northwest district where the purchaser lived. It is also significant for connecting the Melbourne distributor to the importing of goods from the well-known German manufacturer of early domestic sewing machines, Joseph Wertheim. Tool part for a Wertheim sewing machine. Made by Joseph Wertheim, Germany, and distributed by Hugo Wertheim, William Street Melbourne. Circa 1891flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, wertheim, sewing machine, victorian era, sewing machine accessory, wertheim sewing machine and hapsburg piano depot, wertheim sewing machines, sewing machine foot, seamer foot, domestic machines, dressmaking, home industry, fashion

This sewing machine accessory was donated with our collection's Wertheim sewing machine accessory box. The box contains twelve accessories, the instruction book and the receipt for the purchase of a Wertheim sewing machine. The receipt was written on July 23rd 1891 by the Wertheim distributor in Melbourne, Hugo Wertheim. His business was the Wertheim Sewing Machine and Hapsburg Piano Depot, trading at 173 Williams Street, Melbourne. The purchaser was Mrs Burrowes from Burrumbeet, Victoria, a district northwest of Ballarat. She paid £6-6 (six pounds and six shillings) in cash. The receipt was signed by H. Wertheim and the other signatory looks like John A. Cherry. Hugo Wertheim (1854-1919) was an agent for his father’s cousin Joseph Wertheim, a well-established sewing machine manufacturer in Germany. He was born in Lispenhausen, Germany, and migrated to Melbourne in October 1875, where he opened a merchandising business at 39 Flinders Lane East. He returned to Germany in 1885 to marry Joseph Wertheim's daughter Sophie Emilie. The couple came back to Melbourne, and Hugo quickly established a substantial business selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He exhibited at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. One of his staff was O. C. Beale, who later set up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Hugo Wertheim opened a piano factory in Richmond, Melbourne, aiming to produce 2000 pianos and player pianos a year, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis in 1919 at his home in South Yarra. His eldest son, Herbert Joseph (1886-1972), continued the business. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices. The Wertheim Sewing Machine Company – Joseph Wertheim (1804–1899) founded the company in 1868 in Frankfurt, Germany. At this time Joseph was the Frankfurt city delegate for the Democratic Party. At its height, the Wertheim factory employed approximately 650 workers. The company used a trademark of a dwarf holding a hammer which is known to have been used until at least 1925, however in 1909 a Star of David was also registered. In 1870 a Wertheim subsidiary was formed in Barcelona, Spain. The business imported and sold complete machines, including the English Jones machine. Locals began calling the sewing machines “las rapidas”, and the business became known as “las casa de las rapidas”. In 1915 production began of a totally manufactured Spanish Wertheim machine. Wertheim in Germany continued manufacturing machines until 1932 when the Wertheim family fled to Spain. Despite converting to Christianity from Judaism, they feared the political unrest in Germany during that time. Wertheim Spain became Rapida SA and was then the sole manufacturer of the Wertheim machines. The factory was managed by Karl Wertheim under the alias Carlos Vallin. The sewing machine accessory is part of a donation that connected to domestic life in 1891 during the Victorian era. It is significant for connecting the Melbourne distributor of Wertheim sewing machines, Hugo Wertheim, to Victoria’s northwest district where the purchaser lived. It is also significant for connecting the Melbourne distributor to the importing of goods from the well-known German manufacturer of early domestic sewing machines, Joseph Wertheim. Adjustable needle plate for a Wertheim sewing machine, made by Joseph Wertheim, Germany, and distributed by Hugo Wertheim, William Street Melbourne. Circa 1891.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, wertheim, sewing machine, victorian era, sewing machine accessory, wertheim sewing machine and hapsburg piano depot, wertheim sewing machines, needle plate, domestic machines, dressmaking, home industry, fashion

The tuck making tool is part of a set of tools and Instructions for a Wertheim New High Arm Sewing Machine as well as the "B' Medium, Cylinder Arm and Titania Machines. This sewing machine accessory was donated with our collection's Wertheim sewing machine accessory box. The box contains twelve accessories, the instruction book and the receipt for the purchase of a Wertheim sewing machine. The receipt was written on July 23rd 1891 by the Wertheim distributor in Melbourne, Hugo Wertheim. His business was the Wertheim Sewing Machine and Hapsburg Piano Depot, trading at 173 Williams Street, Melbourne. The purchaser was Mrs Burrowes from Burrumbeet, Victoria, a district northwest of Ballarat. She paid £6-6 (six pounds and six shillings) in cash. The receipt was signed by H. Wertheim and the other signatory looks like John A. Cherry. Hugo Wertheim (1854-1919) was an agent for his father’s cousin Joseph Wertheim, a well-established sewing machine manufacturer in Germany. He was born in Lispenhausen, Germany, and migrated to Melbourne in October 1875, where he opened a merchandising business at 39 Flinders Lane East. He returned to Germany in 1885 to marry Joseph Wertheim's daughter Sophie Emilie. The couple came back to Melbourne, and Hugo quickly established a substantial business selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He exhibited at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. One of his staff was O. C. Beale, who later set up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Hugo Wertheim opened a piano factory in Richmond, Melbourne, aiming to produce 2000 pianos and player pianos a year, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis in 1919 at his home in South Yarra. His eldest son, Herbert Joseph (1886-1972), continued the business. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices. The Wertheim Sewing Machine Company – Joseph Wertheim (1804–1899) founded the company in 1868 in Frankfurt, Germany. At this time Joseph was the Frankfurt city delegate for the Democratic Party. At its height, the Wertheim factory employed approximately 650 workers. The company used a trademark of a dwarf holding a hammer which is known to have been used until at least 1925, however in 1909 a Star of David was also registered. In 1870 a Wertheim subsidiary was formed in Barcelona, Spain. The business imported and sold complete machines, including the English Jones machine. Locals began calling the sewing machines “las rapidas”, and the business became known as “las casa de las rapidas”. In 1915 production began of a totally manufactured Spanish Wertheim machine. Wertheim in Germany continued manufacturing machines until 1932 when the Wertheim family fled to Spain. Despite converting to Christianity from Judaism, they feared the political unrest in Germany during that time. Wertheim Spain became Rapida SA and was then the sole manufacturer of the Wertheim machines. The factory was managed by Karl Wertheim under the alias Carlos Vallin. The sewing machine accessory is part of a donation that connected to domestic life in 1891 during the Victorian era. It is significant for connecting the Melbourne distributor of Wertheim sewing machines, Hugo Wertheim, to Victoria’s northwest district where the purchaser lived. It is also significant for connecting the Melbourne distributor to the importing of goods from the well-known German manufacturer of early domestic sewing machines, Joseph Wertheim. Tuck marker or creaser for a Wertheim sewing machine. Made by Joseph Wertheim , Germany, and distributed by Hugo Wertheim, William Street Melbourne. Circa 1891flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, sewing machine tool, sewing machine accessory, tucker, tuck maker, creaser, wertheim, joseph wertheim, germany, hugo wertheim, victorian era, sewing machine, wertheim sewing machine and hapsburg piano depot, wertheim sewing machines, domestic machines, dressmaking, home industry, fashion

This sewing machine accessory was donated with our collection's Wertheim sewing machine accessory box. The box contains twelve accessories, the instruction book and the receipt for the purchase of a Wertheim sewing machine. The receipt was written on July 23rd 1891 by the Wertheim distributor in Melbourne, Hugo Wertheim. His business was the Wertheim Sewing Machine and Hapsburg Piano Depot, trading at 173 Williams Street, Melbourne. The purchaser was Mrs Burrowes from Burrumbeet, Victoria, a district northwest of Ballarat. She paid £6-6 (six pounds and six shillings) in cash. The receipt was signed by H. Wertheim and the other signatory looks like John A. Cherry. Hugo Wertheim (1854-1919) was an agent for his father’s cousin Joseph Wertheim, a well-established sewing machine manufacturer in Germany. He was born in Lispenhausen, Germany, and migrated to Melbourne in October 1875, where he opened a merchandising business at 39 Flinders Lane East. He returned to Germany in 1885 to marry Joseph Wertheim's daughter Sophie Emilie. The couple came back to Melbourne, and Hugo quickly established a substantial business selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He exhibited at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. One of his staff was O. C. Beale, who later set up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Hugo Wertheim opened a piano factory in Richmond, Melbourne, aiming to produce 2000 pianos and player pianos a year, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis in 1919 at his home in South Yarra. His eldest son, Herbert Joseph (1886-1972), continued the business. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices. The Wertheim Sewing Machine Company – Joseph Wertheim (1804–1899) founded the company in 1868 in Frankfurt, Germany. At this time Joseph was the Frankfurt city delegate for the Democratic Party. At its height, the Wertheim factory employed approximately 650 workers. The company used a trademark of a dwarf holding a hammer which is known to have been used until at least 1925, however in 1909 a Star of David was also registered. In 1870 a Wertheim subsidiary was formed in Barcelona, Spain. The business imported and sold complete machines, including the English Jones machine. Locals began calling the sewing machines “las rapidas”, and the business became known as “las casa de las rapidas”. In 1915 production began of a totally manufactured Spanish Wertheim machine. Wertheim in Germany continued manufacturing machines until 1932 when the Wertheim family fled to Spain. Despite converting to Christianity from Judaism, they feared the political unrest in Germany during that time. Wertheim Spain became Rapida SA and was then the sole manufacturer of the Wertheim machines. The factory was managed by Karl Wertheim under the alias Carlos Vallin. The sewing machine accessory is part of a donation that connected to domestic life in 1891 during the Victorian era. It is significant for connecting the Melbourne distributor of Wertheim sewing machines, Hugo Wertheim, to Victoria’s northwest district where the purchaser lived. It is also significant for connecting the Melbourne distributor to the importing of goods from the well-known German manufacturer of early domestic sewing machines, Joseph Wertheim. Hook; thin metal rod bent at one end into a curved upward arc. Thais sewing machine part was made for a Wertheim sewing machine by Joseph Wertheim, Germany, and distributed by Hugo Wertheim, William Street Melbourne. Circa 1891.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, wertheim, sewing machine, victorian era, sewing machine accessory, wertheim sewing machine and hapsburg piano depot, wertheim sewing machines, domestic machines, dressmaking, home industry, fashion

This sewing machine accessory was donated with our collection's Wertheim sewing machine accessory box. The box contains twelve accessories, the instruction book and the receipt for the purchase of a Wertheim sewing machine. The receipt was written on July 23rd 1891 by the Wertheim distributor in Melbourne, Hugo Wertheim. His business was the Wertheim Sewing Machine and Hapsburg Piano Depot, trading at 173 Williams Street, Melbourne. The purchaser was Mrs Burrowes from Burrumbeet, Victoria, a district northwest of Ballarat. She paid £6-6 (six pounds and six shillings) in cash. The receipt was signed by H. Wertheim and the other signatory looks like John A. Cherry. Hugo Wertheim (1854-1919) was an agent for his father’s cousin Joseph Wertheim, a well-established sewing machine manufacturer in Germany. He was born in Lispenhausen, Germany, and migrated to Melbourne in October 1875, where he opened a merchandising business at 39 Flinders Lane East. He returned to Germany in 1885 to marry Joseph Wertheim's daughter Sophie Emilie. The couple came back to Melbourne, and Hugo quickly established a substantial business selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He exhibited at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. One of his staff was O. C. Beale, who later set up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Hugo Wertheim opened a piano factory in Richmond, Melbourne, aiming to produce 2000 pianos and player pianos a year, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis in 1919 at his home in South Yarra. His eldest son, Herbert Joseph (1886-1972), continued the business. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices. The Wertheim Sewing Machine Company – Joseph Wertheim (1804–1899) founded the company in 1868 in Frankfurt, Germany. At this time Joseph was the Frankfurt city delegate for the Democratic Party. At its height, the Wertheim factory employed approximately 650 workers. The company used a trademark of a dwarf holding a hammer which is known to have been used until at least 1925, however in 1909 a Star of David was also registered. In 1870 a Wertheim subsidiary was formed in Barcelona, Spain. The business imported and sold complete machines, including the English Jones machine. Locals began calling the sewing machines “las rapidas”, and the business became known as “las casa de las rapidas”. In 1915 production began of a totally manufactured Spanish Wertheim machine. Wertheim in Germany continued manufacturing machines until 1932 when the Wertheim family fled to Spain. Despite converting to Christianity from Judaism, they feared the political unrest in Germany during that time. Wertheim Spain became Rapida SA and was then the sole manufacturer of the Wertheim machines. The factory was managed by Karl Wertheim under the alias Carlos Vallin. The sewing machine accessory is part of a donation that connected to domestic life in 1891 during the Victorian era. It is significant for connecting the Melbourne distributor of Wertheim sewing machines, Hugo Wertheim, to Victoria’s northwest district where the purchaser lived. It is also significant for connecting the Melbourne distributor to the importing of goods from the well-known German manufacturer of early domestic sewing machines, Joseph Wertheim. Needle plate for a Wertheim sewing machine, made from a metal bar with machined holes for attaching and adjusting. Made by Joseph Wertheim, Germany, and distributed by Hugo Wertheim, William Street Melbourne. Circa 1891.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, wertheim, sewing machine, victorian era, sewing machine accessory, wertheim sewing machine and hapsburg piano depot, wertheim sewing machines, needle plate, domestic machines, dressmaking, home industry, fashion

This instruction book was donated with our collection's Wertheim sewing machine accessory box. The box contains 12 accessories, the instruction book and the receipt for the purchase of a Wertheim sewing machine. The receipt was written on July 23rd 1891 by the Wertheim distributor in Melbourne, Hugo Wertheim. His business was the Wertheim Sewing Machine and Hapsburg Piano Depot, trading at 173 Williams Street, Melbourne. The purchaser was Mrs Burrowes from Burrumbeet, Victoria, a district northwest of Ballarat. She paid £6-6 (six pounds and six shillings) in cash. The receipt was signed by H. Wertheim and the other signatory looks like John A. Cherry. Hugo Wertheim (1854-1919) was an agent for his father’s cousin Joseph Wertheim, a well-established sewing machine manufacturer in Germany. He was born in Lispenhausen, Germany, and migrated to Melbourne in October 1875, where he opened a merchandising business at 39 Flinders Lane East. He returned to Germany in 1885 to marry Joseph Wertheim's daughter Sophie Emilie. The couple came back to Melbourne, and Hugo quickly established a substantial business selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He exhibited at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. One of his staff was O. C. Beale, who later set up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Hugo Wertheim opened a piano factory in Richmond, Melbourne, aiming to produce 2000 pianos and player pianos a year, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis in 1919 at his home in South Yarra. His eldest son, Herbert Joseph (1886-1972), continued the business. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices. The Wertheim Sewing Machine Company – Joseph Wertheim (1804–1899) founded the company in 1868 in Frankfurt, Germany. At this time Joseph was the Frankfurt city delegate for the Democratic Party. At its height, the Wertheim factory employed approximately 650 workers. The company used a trademark of a dwarf holding a hammer which is known to have been used until at least 1925, however in 1909 a Star of David was also registered. In 1870 a Wertheim subsidiary was formed in Barcelona, Spain. The business imported and sold complete machines, including the English Jones machine. Locals began calling the sewing machines “las rapidas”, and the business became known as “las casa de las rapidas”. In 1915 production began of a totally manufactured Spanish Wertheim machine. Wertheim in Germany continued manufacturing machines until 1932 when the Wertheim family fled to Spain. Despite converting to Christianity from Judaism, they feared the political unrest in Germany during that time. Wertheim Spain became Rapida SA and was then the sole manufacturer of the Wertheim machines. The factory was managed by Karl Wertheim under the alias Carlos Vallin. The item is part of a donation that connected to domestic life in 1891 during the Victorian era. It is significant for connecting the Melbourne distributor of Wertheim sewing machines, Hugo Wertheim, to Victoria’s northwest district where the purchaser lived. It is also significant for connecting the Melbourne distributor to the importing of goods from the well-known German manufacturer of early domestic sewing machines, Joseph Wertheim.Book with pale blue cover and 19 double-sided printed pages stapled together. The book is an instruction manual for using and managing the Wertheim High Arm Sewing Machine and other similar models. It was published in Frankfurt, Germany, by Joseph Wertheim, the machines' manufacturer. The Australian distributor of the machines was Hugo Wertheim, 173 William Street, Melbourne. Circa 1891.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, wertheim, sewing machine, victorian era, sewing machine accessories, sewing machine instructions, wertheim instruction book, wertheim sewing machine and hapsburg piano depot, 23-7-1891, £6 6/-, mrs burrowes, burrumbeet, h. wertheim, wertheim sewing machines, domestic machines, dressmaking, home industry, fashion

This receipt was donated with our collection's Wertheim sewing machine accessory box. The box contains twelve accessories, the instruction book and the receipt for the purchase of a Wertheim sewing machine. The receipt was written on July 23rd 1891 by the Wertheim distributor in Melbourne, Hugo Wertheim. His business was the Wertheim Sewing Machine and Hapsburg Piano Depot, trading at 173 Williams Street, Melbourne. The purchaser was Mrs Burrowes from Burrumbeet, Victoria, a district northwest of Ballarat. She paid £6-6 (six pounds and six shillings) in cash. The receipt was signed by H. Wertheim and the other signatory looks like John A. Cherry. Hugo Wertheim (1854-1919) was an agent for his father’s cousin Joseph Wertheim, a well-established sewing machine manufacturer in Germany. He was born in Lispenhausen, Germany, and migrated to Melbourne in October 1875, where he opened a merchandising business at 39 Flinders Lane East. He returned to Germany in 1885 to marry Joseph Wertheim's daughter Sophie Emilie. The couple came back to Melbourne, and Hugo quickly established a substantial business selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He exhibited at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. One of his staff was O. C. Beale, who later set up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Hugo Wertheim opened a piano factory in Richmond, Melbourne, aiming to produce 2000 pianos and player pianos a year, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis in 1919 at his home in South Yarra. His eldest son, Herbert Joseph (1886-1972), continued the business. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices. The Wertheim Sewing Machine Company – Joseph Wertheim (1804–1899) founded the company in 1868 in Frankfurt, Germany. At this time Joseph was the Frankfurt city delegate for the Democratic Party. At its height, the Wertheim factory employed approximately 650 workers. The company used a trademark of a dwarf holding a hammer which is known to have been used until at least 1925, however in 1909 a Star of David was also registered. In 1870 a Wertheim subsidiary was formed in Barcelona, Spain. The business imported and sold complete machines, including the English Jones machine. Locals began calling the sewing machines “las rapidas”, and the business became known as “las casa de las rapidas”. In 1915 production began of a totally manufactured Spanish Wertheim machine. Wertheim in Germany continued manufacturing machines until 1932 when the Wertheim family fled to Spain. Despite converting to Christianity from Judaism, they feared the political unrest in Germany during that time. Wertheim Spain became Rapida SA and was then the sole manufacturer of the Wertheim machines. The factory was managed by Karl Wertheim under the alias Carlos Vallin.The receipt is significant for its connection with Victoria's northwestern district, the Melbourne distributor Hugo Wertheim, and the well-known German manufacturer of the early domestic sewing machines, Joseph Wertheim. The stamp with Queen Victoria's profile also connects the receipt to the Victorian era and connects Melbourne to Colonial Australia. The receipt also gives a fixed date to the machine accessories and instruction book in our Collection, connecting them all to domestic life in the Victorian era.Receipt on cream paper, rectangular, with red horizontal and vertical lines. Printed letterhead and heading text. Handwritten details of the seller, owner, the item purchased, method of payment, and cost. Signed by two signatories. A one-penny stamp is attached. Sold by Wertheim Sewing Machines and Hapsburg Pianos,.dated 23rd July 1891 for £6 6/- from Mrs Burrowes, Burrumbeet, Victoria, for the purchase of a Wertheim sewing machine.Printed "From the Wertheim Sewing Machine and Hapsburg Piano Depot" Handwritten "Mrs Burrowes, Burrumbeet" "July 23rd 1891" "Wertheim Sewing Machine" "£6 6" "Settled by Cash" Signatures "H. Wertheim" and (Looks Like) "John A Cherry" Ont the stamp, [image of Queen Victoria's profile] and "VICTORIA" "ONE PENNY" flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, wertheim, sewing machine, victorian era, sewing machine accessories, sewing machine instructions, wertheim sewing machine and hapsburg piano depot, 23-7-1891, £6 6/-, mrs burrowes, burrumbeet, h. wertheim, wertheim sewing machines, domestic machines, dress making, home industry, fashion, receipt, queen victoria stamp, one-penny stamp

This Wertheim Sewing Machine accessory box was donated with twelve accessories, the instruction book and the receipt for the purchase of a Wertheim sewing machine. the box's construction includes a coloured printed label and strong stitching on the joins of the edges. The receipt was written on July 23rd 1891 by the Wertheim distributor in Melbourne, Hugo Wertheim. His business was the Wertheim Sewing Machine and Hapsburg Piano Depot, trading at 173 Williams Street, Melbourne. The purchaser was Mrs Burrowes from Burrumbeet, Victoria, a district northwest of Ballarat. She paid £6-6 (six pounds and six shillings) in cash. The receipt was signed by H. Wertheim and the other signatory looks like John A. Cherry. Hugo Wertheim (1854-1919) was an agent for his father’s cousin Joseph Wertheim, a well-established sewing machine manufacturer in Germany. He was born in Lispenhausen, Germany, and migrated to Melbourne in October 1875, where he opened a merchandising business at 39 Flinders Lane East. He returned to Germany in 1885 to marry Joseph Wertheim's daughter Sophie Emilie. The couple came back to Melbourne, and Hugo quickly established a substantial business selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He exhibited at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. One of his staff was O. C. Beale, who later set up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Hugo Wertheim opened a piano factory in Richmond, Melbourne, aiming to produce 2000 pianos and player pianos a year, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis in 1919 at his home in South Yarra. His eldest son, Herbert Joseph (1886-1972), continued the business. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices. The Wertheim Sewing Machine Company – Joseph Wertheim (1804–1899) founded the company in 1868 in Frankfurt, Germany. At this time Joseph was the Frankfurt city delegate for the Democratic Party. At its height, the Wertheim factory employed approximately 650 workers. The company used a trademark of a dwarf holding a hammer which is known to have been used until at least 1925, however in 1909 a Star of David was also registered. In 1870 a Wertheim subsidiary was formed in Barcelona, Spain. The business imported and sold complete machines, including the English Jones machine. Locals began calling the sewing machines “las rapidas”, and the business became known as “las casa de las rapidas”. In 1915 production began of a totally manufactured Spanish Wertheim machine. Wertheim in Germany continued manufacturing machines until 1932 when the Wertheim family fled to Spain. Despite converting to Christianity from Judaism, they feared the political unrest in Germany during that time. Wertheim Spain became Rapida SA and was then the sole manufacturer of the Wertheim machines. The factory was managed by Karl Wertheim under the alias Carlos Vallin. The box is part of a donation that connected to domestic life in 1891 during the Victorian era. It is significant for connecting the Melbourne distributor of Wertheim sewing machines, Hugo Wertheim, to Victoria’s northwest district where the purchaser lived. It is also significant for connecting the Melbourne distributor to the importing of goods from the well-known German manufacturer of early domestic sewing machines, Joseph Wertheim.Cardboard box, rectangular, with coloured printed labels. The top of the box has a city scene on it, depicting buildings, factories and figures. Made by Wertheim Sewing Machine Co. of Germany. The Box has been sewn around the edges. There is a handwritten pencil inscription on one of the sides (difficult to decipher)."Manufactured in Germany" "WERTHEIM" "The Wonderful Sewing Machines" Handwritten "Ste - - - B - - - - Wbool"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, wertheim, sewing machine, victorian era, sewing machine accessories, sewing machine instructions, wertheim instruction book, wertheim sewing machine and hapsburg piano depot, 23-7-1891, £6 6/-, mrs burrowes, burrumbeet, h. wertheim, wertheim sewing machines, hand-stitched box, accessory box, domestic machines, dressmaking, home industry, fashion

This sewing machine accessory was donated with our collection's Wertheim sewing machine accessory box. The box contains twelve accessories, the instruction book and the receipt for the purchase of a Wertheim sewing machine. The receipt was written on July 23rd 1891 by the Wertheim distributor in Melbourne, Hugo Wertheim. His business was the Wertheim Sewing Machine and Hapsburg Piano Depot, trading at 173 Williams Street, Melbourne. The purchaser was Mrs Burrowes from Burrumbeet, Victoria, a district northwest of Ballarat. She paid £6-6 (six pounds and six shillings) in cash. The receipt was signed by H. Wertheim and the other signatory looks like John A. Cherry. Hugo Wertheim (1854-1919) was an agent for his father’s cousin Joseph Wertheim, a well-established sewing machine manufacturer in Germany. He was born in Lispenhausen, Germany, and migrated to Melbourne in October 1875, where he opened a merchandising business at 39 Flinders Lane East. He returned to Germany in 1885 to marry Joseph Wertheim's daughter Sophie Emilie. The couple came back to Melbourne, and Hugo quickly established a substantial business selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He exhibited at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. One of his staff was O. C. Beale, who later set up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Hugo Wertheim opened a piano factory in Richmond, Melbourne, aiming to produce 2000 pianos and player pianos a year, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis in 1919 at his home in South Yarra. His eldest son, Herbert Joseph (1886-1972), continued the business. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices. The Wertheim Sewing Machine Company – Joseph Wertheim (1804–1899) founded the company in 1868 in Frankfurt, Germany. At this time Joseph was the Frankfurt city delegate for the Democratic Party. At its height, the Wertheim factory employed approximately 650 workers. The company used a trademark of a dwarf holding a hammer which is known to have been used until at least 1925, however in 1909 a Star of David was also registered. In 1870 a Wertheim subsidiary was formed in Barcelona, Spain. The business imported and sold complete machines, including the English Jones machine. Locals began calling the sewing machines “las rapidas”, and the business became known as “las casa de las rapidas”. In 1915 production began of a totally manufactured Spanish Wertheim machine. Wertheim in Germany continued manufacturing machines until 1932 when the Wertheim family fled to Spain. Despite converting to Christianity from Judaism, they feared the political unrest in Germany during that time. Wertheim Spain became Rapida SA and was then the sole manufacturer of the Wertheim machines. The factory was managed by Karl Wertheim under the alias Carlos Vallin. The sewing machine accessory is part of a donation that connected to domestic life in 1891 during the Victorian era. It is significant for connecting the Melbourne distributor of Wertheim sewing machines, Hugo Wertheim, to Victoria’s northwest district where the purchaser lived. It is also significant for connecting the Melbourne distributor to the importing of goods from the well-known German manufacturer of early domestic sewing machines, Joseph Wertheim. Foot accessory tool for a Wertheim sewing machine. Mane by Joseph Wertheim, Germany, and distributed by Hugo Wertheim William Street Melbourne. Circa 1891.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, wertheim, sewing machine, victorian era, sewing machine accessory, wertheim sewing machine and hapsburg piano depot, wertheim sewing machines, domestic machines, dressmaking, home industry, fashion

Demonstrates a Yarra Trams staff newsletter.Issue 1 dated October 1999 with a forward by the CEO Steve Macdonald , Camberwell depot, Deputy CEO Hubert Guyot, new logo designs, reduction in tram stops, tennis trams, family day, Docklands route 70 extension and competition. Issue 2 – April 2000 – 12 pages – launch of the new Yarra Trams livery, ticket validation, Open Tennis event, F1 event, marketing and the 2000 New Year event. issue 4 - Jan 2001 - 4 pages - new uniforms, CEO message, park and ride, Control centre operators Ron Peach and Con Evagrou, and driving at Christmas issue 6 - August 2001 - 6 pages - low floor trams coming, Camberwell Road works, rail rubber boots, kew depot issue 7 - December 2001 - 4 pages - new trams launch, route 109, TV advert, and authorised officers. issue 8 - April 2002 - Grand Prix, Box Hill update, Citadis update, Collins and Spring superstop, Australia Open, Fare Evasion and track joints. Issue 9 - magazine - 3 fold A4 - issue 9, dated Nov. 2002, Notes the construction of Route 109, W class, St Vincent's Plaza, Gordon Atkins, Docklands tram services, explorer program, Feedback, Line Officers, Corporate Report and Melbourne Museum tram. issue 10, undated - Australian Open tennis, Eurotram comes to Melbourne, Docklands joins the City Circle, route 109, Box Hill extension and what is a substation. issue 11 - August 2003 - 8 pages - opening of Box Hill line, Harry the Wombat, trams in the press, Welcome to Dennis Cliche, B class seating trial, Metlink, Docklands, trial information at tram stops (early TramTracker) project and route 75. Issue 12 - Magazine - 8 pages, full colour, centre stapled, printed on recycled paper, titled "Yarra Connections Issue 12, December 2003", published by Yarra Trams. Notes the launch of the "Wheelchair users guide" for tram passenger, Yarra Trams support for Wheelchair Rugby, planning for Vermont South extension, French award for CEO, Hubert Guyot, photo exhibition featuring employees by Georgia Metaxas, Boroondara residents and Travelsmart, Metlink Team Tigers Basketball, Ikea store in Richmond, pram friendly trams, feedback and return of W class trams to route 30. New track maintenance vehicle -"scrubber truck". Letter on Yarra Trams letterhead, addressed to Ron Wilson of Orange Grove Bayswater, signed by Paul Matthews Marketing Manager forwarding a copy of the magazine to Ron, noting highlights. Gives address details. issue 13 - April 2004 - Australian Open tram service, Collins and Spencer Superstop, tram services, feedback, Metlink, Channel 10 - The Secret life of us, PTC Cricket Squad. trams, tramways, yarra trams, w class, disability services, vermont south, awards, metlink, route 30, camberwell depot, docklands, route 70, st vincent's plaza, line officers, box hill, route 109, b class, superstops, cricket, tennis, tramtracker, route 75, city circle, new trams, c class, camberwell junction, authorised officers

The photograph shows the wreck of La Bella in Lady Bay, Warrnambool, Australia. It was probably taken on 11th November 1905, the morning after she was wrecked. “Foyle” written on the photograph is the name of Foyle’s Photographic studio. At the time of the photograph the studio was owned by both Charles and Lilian Foyle (sometimes known as Lillian or Lily), either of whom could have taken this photograph. They also worked together at a later date on the photographs, sketches and paintings of the famous and historical Pioneers’ Honour Board, which is currently on view in the Warrnambool Library. Foyles Photography was the studio of James Charles Foyle. He owned “Foyle’s Photo Card Studios” in Liebig St , Warrnambool, which operated between 1889 – 1919 . A letter to the editor (by Mr Edward Vidler) in the Melbourne Argus, 3rd August, 1907, mentions that in that year Warrnambool would celebrate its 60th anniversary of its proclamation as a town, and that talented local artist Miss Lily Foyle would paint 200 portraits in watercolour of the pioneers who settled in the district prior to 1860. The Pioneer Honour Board can still be seen on display in the Warrnambool Library. In the Warrnambool Standard, Dec. 1917, “Mr Foyle’s studio was awarded contract to decorate rail cars on newly opened Trans-Continental railway, assisted by his sister, Miss Findlay.” The subject of the painting, La Bella, has its own tragic story. Read on for further details … On November 10th, 1905, the Norwegian-built barquentine La Bella approached Warrnambool at the end of her 37 day voyage. She was carrying a cargo of timber from Lyttleton, New Zealand, in heavy seas and evening mist. (On its only other visit to Warrnambool a year earlier the master had gone to shore to find a tow. He returned to the ship to find the crew drunk and unwilling to take up their posts, even though the ship was dragging its anchors and in a dangerous position.) As Captain Mylius steered La Bella to Lady Bay Channel the ship was tossed onto its side by heavy breakers and ran aground on what is now known as La Bella Reef. The sea was so rough that it wrenched a one-and-a- half ton anchor from the vessel. Several attempts were made by parties of volunteers in lifeboats to rescue the stricken sailors, but the rough conditions made this difficult for the boats to get close enough to the ship and the parties had to return to shore. The La Bella’s crew became exhausted and sailors were being washed overboard, one by one. By sunrise only five of the twelve crew still clung to the wreck. A local fisherman, 25 year old William Ferrier, rowed his small dingy through the heavy seas and managed to rescue the captain, whilst the volunteer lifeboat crew rescued a further three sailors, returning to shore. Ferrier made a final attempt at rescue and was able to reach its stern as the conditions eased slightly, saving the last remaining, terrified sailor just before the ship broke up and sank. William Ferrier became a national hero as news of the daring rescue spread. He was awarded the Silver Medal for bravery by the Royal Humane Society and was honoured by the Prime Minister and the Governor. He was presented with several other awards for his daring rescue. Ferrier’s rescue efforts are one of the most heroic in Victoria’s shipwreck history. The wreck now lies in 13m of water and is home to an abundance of marine life. Flagstaff Hill’s La Bella Collection includes a rail holder from La Bella, a photograph of William Ferrier with four of the five men rescued, a rail holder from the ship and the letter from the Prime Minister and other Members of Parliament that was sent to William Ferrier to commend him for his bravery. La Bella has been protected under the Commonwealth Historic Shipwrecks Act (1976) as a Historic Shipwreck since 23 April 1982 (VHR S401). It is archaeologically significant as the remains of an international and inter-colonial passenger and cargo ship. Flagstaff Hill’s collection of artefacts from the La Bella is of historical and archaeological significance because of its association with the La Bella, which is on the Victorian Heritage Register, and because of the relationship between the objects. The collection represents aspects of Victorian history, and the letter to William Ferrier demonstrates how important his rescue efforts were to Victoria and Australia. Black and white photograph of the wreck of the sailing ship La Bella in the bay at Warrnambool. The photograph shows the ship lying on its side in rough sea, with mast and rope rigging hanging loosely. Several large rocks are also visible. The photograph is a rectangle shape, mounted on heavy card, with slightly ragged edges. The photographer’s name, a title for the photograph and the location are hand written in white along the bottom third of the photograph. The back of the photograph is blank. Printed in white hand writing “Foyle”, “WRECK OF “LA BELLA”, “W’Bool”foyle, la bella, william ferrier, lady bay, lifeboats, lilian foyle, lillian foyle, charles foyle, james foyle, royal humane society medal, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village

The Lister Auto-Truck was a small monowheel tractor built for moving light loads around factories, railway yards and similar sites. They were built by R A Lister and Company of Dursley, Gloucestershire, well known for their range of small stationary engines The Auto-Truck was one of several monowheel tractors to appear in the 1920s and '30s, with the availability of small, reliable petrol engines, as developed for motorcycles and the stationary engines for which Lister were already known. These were tricycle vehicles, with the single leading wheel used for both drive and steering. Their simple construction carried most of the mechanism on this wheel as a single unit, the chassis with the trailing wheels being little more than a trailer for balance. Simplicity was a key feature. The engines were single-cylinder and air-cooled. Ignition was by magneto, rather than requiring a battery and electrical system. One of these designs was produced in the 1920s by George Grist of the Auto Mower Co., Norton St Philip, Somerset. The engine was a JAP 600 cc four-stroke air-cooled sidevalve, a typical small engine of the time. The Auto Mower Co. were Lister agents and when Lister heard of this 'Auto-Truck' they bought one for use in their own factory. It was used to carry heavy engine castings from the foundry to the machine shop. Lister customers saw them and there was such interest in wanting to buy them that Lister negotiated with Auto Mower to build them under licence. Although Lister were already well known for their small petrol stationary engines, these were heavy cast-iron engines with water hopper cooling and unsuitable for vehicle use. Lister remained with the JAP engine for the Auto-Truck. The Auto-Truck was designed for use in factories or other places with smooth surfaces of concrete or tarmac. This allowed the use of small solid-tyred wheels with only simple suspension, making the vehicle simple, cheap and lightweight. They had little ability on soft surfaces though and could even topple over if driven carelessly across slopes. Their design was a compromise between the top-heavy nature of the tall engine grouping above its wheel and a well thought-out chassis for stability. The bearing between them was a large diameter ring roller bearing, mounted at the lowest part of the chassis. This gave rigidity and stability, even after long wear. A ring of rolled channel girder was attached to the engine group and rollers on the chassis carried the load upon this. On early Auto-Trucks this bearing is set very low, in line with the chassis members, and is covered by thin steel plates. The front panel of the engine cover is distinctive with large ventilation holes and a Lister signature cut through it. Strangely this panel is made of thick cast iron, providing substantial weight high on the engine and only adding to its top heaviness. To improve visibility of moving vehicles in noisy factories, this panel was often painted white, the rest of the vehicle being Lister's usual brunswick green. The driver was seated on a Brooks bicycle saddle, which in recognition of the lack of vehicle suspension, was carried on the end of a cantilevered bar that acted as a leaf spring. A wide handlebar on the engine group was used for steering. A squeeze bar the width of this handlebar engaged the clutch. Controls included a hand throttle, a gear lever with two forward and one reverse gears, and a large handbrake lever. The engine unit rotated freely for a full 360° rotation. When used in reverse, the Auto-Truck could either be driven from the saddle, looking backwards over the driver's shoulder; or they could dismount, swivel the engine unit around and control it as a pedestrian-controlled truck from behind. Under the engine cover were two equal diameter tanks, a fuel tank for petrol and a shorter oil tank. Engine and chain-drive lubrication used a total-loss oil system, controlled by a small pump and needle valve. Info Ref: Lister Auto-Truck - Wikipedia https://en.wikipedia.org/wiki/Lister_Auto-TruckHistoric - Industrial monowheel tractor for moving light loads around factories, railway yards and similar sites.The Lister Auto-Truck - small monowheel tractor Made of steel with three wheels. Powered by a J.A.P single cylinder petrol motor which is Hand Cranked to start.Lister puffing billy, lister, lister auto truck, monowheel tractor

Dip pens emerged in the early 19th century, when they replaced quill pens. They were generally used prior to the development of fountain pens in the later 19th century, and are now mainly used in illustration, calligraphy, and comics. A nib pen usually consists of a metal nib with capillary channels like those of fountain pen nibs, mounted on a handle or holder, often made of wood. Other materials can be used for the holder, including bone, metal and plastic. Generally speaking, dip pens have no ink reservoir; therefore the user has to recharge the ink from an ink bowl or bottle in order to continue drawing or writing. Birmingham, England was home to many of the first dip pen manufacturers. John Mitchell pioneered mass production of steel pens in 1822; prior to that the quill pen had been the most common form of writing instrument. His brother William Mitchell later set up his own pen making business in St Paul's square. The Mitchell family is credited as being the first manufacturers to use machines to cut pen nibs, which greatly sped up the process. Germany 1842 began at the factory of Heintze & Blanckertz in Berlin By 1860 there were about 100 companies making steel nibs in Birmingham, but 12 large firms dominated the trade. Dip pens are rarely used now for regular writing, most commonly having been replaced by fountain pens, rollerball pens, or ballpoint pens. However, dip pens are still appreciated by artists, as they can make great differences between thick and thin lines, and generally write more smoothly than other types of pens. Dip pens are also preferred by calligraphers for fine writing. Richard Esterbrook was a Cornish Quaker from England who saw an opportunity in the United States to manufacture Steel Pens. In 1856 R.Esterbrook traveled to the US to set up shop as 'The Steel Pen Manufacturing Company' where Richard made these steel pens by hand using special tools and machines (mostly that Richard had to invent). In 1858 he was able to establish himself as the sole pen manufacturer in the USA and he changed the company name to 'The Esterbrook Steel Pen Mfg. Co.' The company settled down in Camden, New Jersey. Quality was a key factor in his success. His steel pens were versatile, long lasting, and came in many different styles to fit the varied writing styles of the public. Sadly, Richard Esterbrook didn't see the 'empire' his company was to become as he passed away in Atlanta on October 12th 1895 . in 1896 they started an Esterbrook branch in England to join the ranks of the other main pen manufactures in Birmingham . In 1912 the company had gotten so large that they erected a 5 story building, just to continue manufacturing pens. By 1920 the fountain pen was fast becoming more popular amongst people who were tired of 'dipping.' To meet this demand the company manufactured its first fountain pen. In 1930 the company sought less expensive means of manufacturing pens because gold and 'jewel' tips were too expensive and in this same year they began selling fountain pens in England . The Esterbrook Company began using the metal Iridium which they called 'Durachrome.' To meet the fountain pen demand the company reformed as 'The Esterbrook Hazel Pens Ltd.' In 1940 war had come to strike a blow at the Esterbrook company. On November 19th 1940 their England location was hit by an incendiary bomb destroying half of the location! To make matters worse, when putting out the fire using a human water bucket chain, someone accidentally grabbed a bucket of paraffin and set the place further ablaze. Oddly enough, the company was able to rebuild the structure during the war. However, the government had placed a stipulation that 50% of its capacity was to be used for government related purposes. In 1947 the company bought out John Mitchell and the American branch had already acquired Hazel Pen Co. The company re-formed again as 'The Esterbrook Pen Company.' This is the last company name the dip pen nibs were manufactured under. A box of Steel dipping nibs for writing pensOn Box; Photo of man / R. Esternbrook Co. / PENS / PROBATEsteel nibs, writing pens, education, schools, writing, caligraphy, artists, moorabbin, bentleigh, cheltenham, dip pens, inkwells, fountain pens, mitchell john, birmingham england, esternbrook richard, maple barbara

Princes Bridge Centenary pylons under construction Possibly taken from Young and Jacksons Hotel (formerly Princes Bridge Hotel) on the corner of Flinders and Swanston streets, Flinders Street Station’s clocks and main entrance dominate, along with its distinctive copper dome and decorative façade. The time on the main clock is 1.40pm, and the sign underneath, reflecting Melbourne’s upcoming Centenary reads, “We must accommodate our Centenary visitors! Citizens! Do your share by taking paying guests.” At left is the original Princes Bridge Station, today the site of Federation Square. The riverside tram terminus advertises a Café/Tobacconist/Refreshment Room selling cigars & cigarettes, fountain drinks & confectionery, and in smaller text: “Leave your boot repairs here”. Nearly everyone is dressed in dark suits, coats and hats. The footpaths are wide and there are no traffic lights. The roadway stretches towards the Shrine of Remembrance, not yet dedicated but very dominant on the skyline. Government House is clearly visible across the wide parkland that would come to be known as Kings Domain and that is an area of deep importance to the people of the Eastern Kulin. Originally, Birrarung was part of a network of swamps and lagoons linked to the course of the river. From 1896, Public Works Department engineer Carlo Catani, oversaw a new channel to straighten the river and the swamps and lagoons were filled with spoil from the channel works. From the same vantage point today, only the top of the tower of Government House would be visible. The photo captures the pylons along Princes Bridge, mid-construction and being installed to mark Melbourne’s Centenary. The pylons were not without controversy. Both The Argus and The Age bemoaned them for being “made almost entirely of imported softwood timber”, denying work to native hardwood timber workers and sawmillers, and leading visitors to think Australia did not have its own exceptional native hardwoods. The pylons were also variously described in their incomplete state, as unimaginative and resembling an oilfield. Published: The Age 5 September 1934 Featured in "Newsworthy: Melbourne in photographs 1933-1936" exhibition at East Melbourne Library, October to December 2023. Exhibition caption by project volunteer, Louise McKenzie Photographer notations on slide: "Pylons + St Kilda Rd C57" Published: Age (Melbourne, Vic. : 1854 - 1954), Wednesday 5 September 1934, page 11 Published title: DECORATIONS -- THEN AND NOW. Published caption: "Although not completed yet, some impression of the effect of the decorations on Princes-bridge may be obtained from the first picture which shows the majestic sweep of St Kilda road with the Shrine of Remembrance and Government House dominating the horizon. The area to the left of St. Kilda-road and in front of Government House is portion of the area which it is proposed to call the King's Domain, which extends to Domain-road and Anderson-street..." Description: East-facing, elevated view of Flinders Street Station and Princes Bridge, featuring partially completed pylons erected for Melbourne's Centenary celebrations. The Shrine of Remembrance and Government House can be seen in the distance. In the foreground are trams, cars and trucks, pedestrians, Batman Avenue tram terminus and refreshment rooms. Signage on Flinders Street Station encourages citizens to accommodate Centenary visitors. The Melbourne Centenary was held 1934-35 in celebration John Batman's proclamation that Melbourne "the place for a village". Centenary events included a visit by Prince Henry, Duke of Gloucester. A Centenary Cake measuring 50 feet in height and ten tons in weight was cut into 250,000 pieces and sold at 1 shilling per piece for charity. Spectacular floodlighting of city landmarks, the creation of the Pioneer Women's Memorial Garden, and the MacRobertson Air Race from London, were other notable activities. Research by project volunteer, Louise McKenzie: The photo in The Age collage of 5 September 1934 has a slightly cropped foreground. The original photo has been taken from an elevated vantage point, most probably the roof of the Nicholas Building on the corner of Flinders and Swanston streets. The right foreground is dominated by the main “clocks” entrance to Flinders Street Station, showing its distinctive copper dome and decorative façade. The time on the main clock is 1.40 pm. The main sign on the front of the Station reads, "We Must Accommodate our Centenary Visitors! Citizens! Do your share by taking paying guests. Write to The Official Centenary Accommodation Bureau, 436 Collins St. City. Tel M 4671”. Another sign at eye level at the main entrance says: “Cheap Trips on Sundays”. The sign on the end of the roof along the eastern side of the station reads, “The Babies Need Your Help! Support Broadmeadows Foundling Hospital Appeal. July and August”. Run by the Sisters of St Joseph of the Sacred Heart, St Joseph’s Foundling Hospital was a purpose built infants’ home for up to 300 babies, plus accommodation for expectant mothers, mainly single women. In the early 1930s, the department (Victorian Children’s Welfare Department) contracted St Joseph’s Foundling Hospital to care for an additional 60 infant state wards, and up to 175 non wards at any given time. In 1931 it also operated a mothercraft training school. The centre foreground shows the commencement of Princes Bridge. Beneath the left side of the bridge was the site of the original Princes Bridge Station, by this time incorporated into Flinders Street Station, and today the area is the site of Federation Square. It was linked to Flinders Street station by the railway tracks that ran underneath the northern approach to the bridge. This photo shows a tram terminus which has a Café/Tobacconist/Refreshment Room, selling cigars & cigarettes, fountain drinks & confectionary, and a sign: Leave your boot repairs here. In the foreground is a wide roadway running south/north, comprising two vehicle lanes each heading north/south, and a central section containing two sets of tram tracks. There are cars, buses and delivery vans on the roadway. The trams visible are Glen Iris (Route No. 6; tram no. 448), Toorak (Route No. 8, tram no. 333), ? (No. 7), ? (No. 1), and ? (No. 2A). The footpaths are extremely wide. There is a square newspaper/magazine stand on the eastern side footpath. And also a “Ferry” sign. There are no traffic lights, but a policeman is visible on the roadway. There are pedestrians – men, women, children, a porter with trolley, women with prams. Clothing comprises dark suits, coats and hats for nearly everyone. There are double headed “Collins Street” lights along the side of the roadway, and along the northern riverbank. The roadway in the foreground is an extension of Swanston Street, which becomes Princes Bridge, then St Kilda Road, stretching towards the Shrine of Remembrance, and diverting past it. The Shrine had not yet been officially dedicated, and looks very white and dominant on the skyline. On the LHS of St Kilda Road, Government House is clearly visible across the wide parkland to be known as Kings Domain. The Kings Domain area is important to the people of the Eastern Kulin nation, and also has historical importance for its association with the early settlement of Melbourne and the foundation of British colonial administration in Victoria. On the southern side of the Yarra River (Birrarung) an historic rowing boathouse is visible, located adjacent to the Alexandra Gardens. Originally Birrarung was part of a network of swamps and lagoons linked to the course of the river. From 1896, under the guidance of engineer Carlo Catani* a new channel to straighten the river was created and the swamps and lagoons were filled with spoil from the channel works. The gardens were then created and completed in time for a Royal visit by the Duke of York in May 1901. The gardens are named after Alexandra of Denmark, the wife of King Edward VII. Both these areas, plus the Royal Botanic Gardens Victoria, Shrine of Remembrance Reserve, Sidney Myer Music Bowl, Government House, and the Queen Victoria Gardens together form the Domain Parklands. The extent of the subsequent plantings is evident today, where from the same vantage point only the top of the tower of Government House would be visible. *Catani was born in Florence in 1852, but after arriving in Melbourne worked as a civil engineer for the Victorian Government. His last major project was the reclamation of the foreshore of St Kilda, envisaged in the style of a European resort, complete with a split level esplanade, bathing pavilions, dance halls, amusements and a French-Italian style of landscape complete with palms. The gardens at the end of Fitzroy Street, St Kilda, now bear his name. The historic boathouse visible across the Yarra is another glimpse into Melbourne’s past. “Boathouse Row” comprises 7 amateur rowing clubs, the first established in 1859 (Melbourne University Boat Club). Other Clubs were Richmond, Melbourne, Banks, Melbourne Grammar School, Yarra Yarra and Mercantile. South of the river and west of the bridge is an area today developed into the Melbourne arts precinct of Hamer Hall and the Arts Centre. But at this time it was the home of Wirths Olympia Circus, which comprised Wirths Pleasure Park (an amusement park), a 5,000 seat auditorium – Hippodrome, a roller skating rink, a glaciarium, a cinema, and the Green Mill Dance Hall. Dog shows were also held at Olympia. The Green Mill Dance Hall closed in 1950, and the remainder of the Wirth buildings on site were destroyed by fire in December 1953. The feature of the photo is the pylons erected along Princes Bridge to mark Melbourne’s Centenary in 1934. The sixteen plastered pylons were designed by Roy Prentice, the second person to qualify as an architect at The University of Melbourne’s Bachelor of Architecture degree, in 1933, aged 27. Simon Reeves in his article marking the 100th birthday of Roy Prentice on 20 June 2006 reports that the State Electricity Commission sponsored this work, and the Argus reported that “… the pylons were “illuminated from within to give the effect of soft radiance”. Australia Home Beautiful 1 Oct 1934 reports in a very detailed and comprehensive article: The 10 taller pylons, including flagpole, were 48 ft, with a base of 8 ft. Timber-framed and faced with fibrous plaster and galvanised sheet iron, each structure was securely bolted to a concrete foundation three feet in depth. Panels of glass let into the shaft of each pylon were indirectly lit by 40, 100 watt lamps, and the upper bank of internal lamps were dyed so as to flood the panels with a deep red light. The decorative painted shields and flagpoles/pennants were illuminated by three 200 watt projectors concealed in the roof of each pylon, and were part of an electric night light decoration scheme involving 28 miles of wire to supply more than 20,000 lights. An article in the Argus on 18 October 1934 provided minute detail of the lighting erected in Melbourne for the Centenary, converting it “… into a coloured fairyland by night.” The estimated cost of 10 pounds per hour the lights were on. The display included 800 standard light poles 30 feet high which were tiered with electric bulbs concealed in inverted cones, 138 specially designed “Venetian poles” draped in flags trophies and streamers. The streets included in the electric night light decoration scheme were Bourke Street from Spring to William, the entire length of Collins Street, Flinders Street from Elizabeth to Spring, Lonsdale Street from Elizabeth to Swanston, Swanston and Elizabeth Streets from Flinders to Lonsdale, and parts of Springs and Spencer Streets. Together with the Princes Bridge pylons, approximately 28 miles of wire was required to supply power to the more than 20,000 lights. And that is just in the city of Melbourne. It was estimated the same amount of lighting was duplicated among other local councils. The pylons were not without controversy. The Argus on 28 August 1934 in an article headed “Imported Timber in Pylons” reported that the Princes Bridge pylons are “made almost entirely of imported softwood timber”, and have therefore denied work to native hardwood timber workers and sawmillers. The same day the Melbourne Age ran a similar story, bemoaning the fact that foreign oregon had been used which may lead tourists to think Australia did not have its own exceptional native hardwoods. A Camberwell City Councillor described the pylons as unimaginative, and the Herald reported that skeletons of pylons for the Centenary decorations in their present form led the area to resemble an oilfield! The Yarra River and Princes Bridge have long been a focal point of Melbourne life. In the early days of European settlement in Melbourne a rope-hauled punt carried people across the Yarra River. A surge in population and increased shipping traffic created a need for a bridge. There was difficulty in agreeing on a suitable site for the bridge (options were crossing at Elizabeth, Swanston, Queen or Market Streets), but the NSW Government favoured Swanston Street and the Melbourne Town Council decided on a temporary bridge across the Yarra spanning from the foot of Swanston Street. This first bridge was a single span timber toll bridge designed by Scottish born bridge designer David Lennox, and completed in 1845. It was 120 feet long, had a roadway of 17 feet wide, and a footpath on one side of 4 feet. It was leased to the Melbourne Bridge Company in the name of Robert A Balbirnie. The tollhouse was on the north side of the river and the toll keeper, Patrick Doherty, was credited with saving nine lives during the four years he was in charge of the toll station. The second bridge was stone (completed 1850), and named Prince’s Bridge after the HRH Prince of Wales, later Edward VII. It was designed with an elliptical single arc and an exceedingly small rise in proportion to the span. However, this design created an obstacle for flood waters, and together with Melbourne’s increasing population it was quickly apparent that a new bridge was required. At its opening on 15 November 1850 coincided with the imminent declaration of Victoria as a separate colony, it provided a moment of great celebration for Melbournians and “The opening ceremony was described as the grandest processional display witnessed in the colony.” (ToMelbourne.com.au) Princes Bridge in its present form, as depicted in this photograph, was designed by Jenkins, D’Ebro and Grainger, and constructed in 1886-88 by David Munro. John Grainger (father of Australian composer Percy Grainger) did the majority of the design work for the bridge. The structure was to have three arches each 96 feet wide measured across the river, and the banks on both sides were raised to allow more space for floodwater to flow. St Kilda Road was originally many feet below the current level. The bridge is of architectural significance for its substantial size, giant half columns, extensive use of wrought and cast iron, decorative elements (cast-iron lamps) and the skilled stonemasonry in the construction of the abutments and piers. Its main design features are similar to those of Blackfriars Bridge in London (1870). The bluestones were quarried from Footscray, the Malmsbury stones were from quarries at Kyneton, and the granite from Harcourt. The cost was met by the State of Victoria, City of Melbourne, and six out of seven of its municipalities, and their coats of arms feature on the bridge. The building of the bridge reflected the boom period of Melbourne, including the Victorian gold rush 1851- late 1860s, and its contractor, David Munro, was also responsible for the construction of Queens Bridge and Sandridge Railway Bridge. The Centenary pylons are no longer in place, but today this intersection still plays a major part in Melbourne’s daily life: people still meet “under the clocks” at Flinders Street station, and the route in and out of the city along St Kilda Road is often a feature of parades such as Moomba, the Grand Final Parade, and of course the Anzac Day Parade which commences at the Princes Bridge intersection and finishes at the Shrine of Remembrance. There are many tram routes, which cross the Bridge, and it directs pedestrians towards the Arts Precinct, the various components of Domain Park, plus the Southbank restaurant and rowing precincts. Even though this is a street scene, it feels very intimate; the viewer is instantly immersed in the activity of a Melbourne afternoon, looking down St Kilda Road from a viewpoint near today’s Federation Square. References: DECORATIONS -- THEN AND NOW. (1934, September 5). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article205880269 'Flinders Street railway station', Wikipedia, https://en.wikipedia.org/wiki/Flinders_Street_railway_station 'St Joseph’s Foundling Hospital (1901-75)', Finding Records, Department of Health and Human Services, State of Victoria, https://www.findingrecords.dhhs.vic.gov.au/collectionresultspage/St-JosephsFoundling-Hospital-Babies-Home#departmental-administration 'Alexandra Gardens', City of Melbourne, https://www.melbourne.vic.gov.au/community/parks-open-spaces/major-parks-gardens/Pages/alexandra-gardens.aspx 'Wirths Circus', Wikipedia, https://en.wikipedia.org/wiki/Wirth's_Circus 'Roy Prentice: Centenary Architect', Built Heritage Pty Ltd, Simon Reeves, https://www.builtheritage.com.au/downloads/prentice.pdf 'Princes Bridge', Heritage Council Victoria, https://vhd.heritagecouncil.vic.gov.au/places/817 PORT PHILLIP. (1846, April 1). The Sydney Morning Herald (NSW : 1842 - 1954), p. 3. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article12886251 'Edward VII', Wikipedia, https://en.wikipedia.org/wiki/Edward_VII 'Princes Bridge', ToMelbourne.com, https://tomelbourne.com.au/princes-bridge/ 'Princes Bridge', eMelbourne, https://www.emelbourne.net.au/biogs/EM01189b.htm 'Princes Bridge', Australia for everyone, http://australiaforeveryone.com.au/files/melbourne/princes-bridge.html 'Victorian gold rush', Wikipedia, https://en.wikipedia.org/wiki/Victorian_gold_rush IMPORTED TIMBER IN PYLONS (1934, August 28). The Argus (Melbourne, Vic. : 1848 - 1957), p. 9. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article10952507 Princes-Bridge Pylons. (1934, August 28). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article205532235 Pylons Appear Near Princes Bridge (1934, August 18). The Herald (Melbourne, Vic. : 1861 - 1954), p. 1. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article243104375 PRINCES-BRIDGE PYLONS. (1934, September 20). The Age (Melbourne, Vic. : 1854 - 1954), p. 10. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article205873535 28 Miles of Wire (1934, October 18). The Argus (Melbourne, Vic. : 1848 - 1957), p. 1 (The Junior Argus). Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article10977836 'Historical references for Boathouse Row, Melbourne', http://boathouserowmelbourne.com.au/history/ 'ITALIAN DELEGATION TO HONOUR CARLO CATANI, DESIGNER OF THE ST KILDA FORESHORE, St Kilda Historical Society, 2001, https://web.archive.org/web/20070928061938/http://www.skhs.org.au/~SKHSarticles/articles/Carlo_Catani.html# HISTORY IN LIGHTS (1934, July 12). The Herald (Melbourne, Vic. : 1861 - 1954), p. 16. Retrieved September 21, 2023, from http://nla.gov.au/nla.news-article243172436 'Dressing Melbourne for the Duke', The Australian home beautiful: a journal for the home builder. Vol 12 No. 10 (1 October 1934), page 21, 58. Retrieved September 14, 2023, from http://nla.gov.au/nla.obj-2950922209Photographer notations on slide: "Pylons + St Kilda Rd C57".centenaries, bridges, lighting, flinders street railway station

This ship model is of the sailing brigantine MARY CAMPBELL, which once belonged to Captain James Arthur Robilliard. The model was made by Harry McKenna, a well-known ship model maker and Warrnambool resident. CAPTAIN ROBILLIARD James Arthur Robilliard, sea captain and tent maker, was born in 19th April 1843 in St. Helier, Jersey, Channel Islands. He trained there in his father’s sail loft as a sailmaker. He later became a skipper. His first job was as a sailor in Liverpool, England. In 1875, James Robilliard migrated to Australia as a mate on the “E.M. Young”. Captain Robilliard and his family were amongst the early settlers along the Curdies River in the Heytesbury district. In 1877, he became a Captain. On 14th November 1879, Captain Robilliard married Helen Beckett. James and Helen had ten children: James Arthur (Jnr), Henry William, Nellie Jessie, Alfred Albert, Rubena Nellie, De Jersy Norman, Clifford Beckett, Olive Ida, Frances Ridley Havergal and Nellie Elvie, all born in Victoria. THE MARY CAMPBELL The ship “Mary Campbell” was built by Alexander Newton Jr. She was carvel-planked, of iron bark and blue gum timber. The family shipyard was at Pelican, on the Manning River, NSW, and “Mary Campbell” was first launched by her builder in 1869 as “The Son”. Three months later, she was renamed “Mary Campbell’ by her purchaser J. Campbell in Sydney. She was used to carry equipment for the Sydney Sugar Refinery’s Mill in Southgate, NSW. She then traded for the next 20 years between Australian ports and rivers along the east coast, as well as regular ports in New Zealand. She was “recognised as one of the best carrying little vessels in the timber trade” (Sydney Morning Herald). She had several owners over this time, the last one being Captain James A. Robilliard. On 29th April 1889, “Mary Campbell”, in the charge of her owner, Captain James A Robilliard, was on her way from Clarence River, NSW to Melbourne, Victoria with a cargo of railway girders for the Melbourne Harbour Trust. Captain Robilliard encountered a storm off Port Macquarie. He sailed the vessel south to 25 miles (about 40km) east of Cape Hawke, near Tuncurry and Forster. At 7 pm, he discovered that the cargo had shifted during the stormy seas and the heavy girders had damaged the hull, causing a leak. The pumps were inadequate to stem the fast-flowing leak, and over a meter of water filled the hull during the next 2 hours. Some of the crew began throwing the cargo overboard to lighten the vessel, hoping to keep it afloat until daylight. When the water reached over 2 meters in the hull, they realised their efforts were in vain. At 1:30 am on 30th April 1889, the crew left the vessel. They stood by in the lifeboat until 3 am. The ship was sinking fast, so they left for the shore, looking for a safe place to beach their boat. While still miles off Cape Hawke, all 7 crew members, including the Captain, were rescued by the Government Tug “Rhea” and taken to Port Macquarie hospital, then returned to Sydney in the “Wellington”. Captain Robilliard managed to rescue his ship’s compass, but no cargo was saved from the vessel. It had been under-insured, only covered for half its value, due to a lack of funds. Many years later, in 1976, an anchor was caught up in the net of a trawler south of Forster and thought to be from the “Mary Campbell”. It was donated and installed in the Great Lakes Museum, Tuncurry, NSW. (The same museum also has a half-model of the hull of “Mary Campbell”.) The name of the last ship Captain Robilliard sailed is currently unknown; however, he sailed that ship from the port of Marlborough, Queensland, carting steel railway girders for the Geelong-to-Camperdown line. On one trip, it hit a storm, the cargo shifted, and the ship was wrecked along the NSW coast. After this, Captain Robilliard exchanged sea life for farming in Peterborough. In about 1897, verging on retirement, Capt. Robiilliard superintended the Melbourne Sailors’ Home in Spencer Street, Melbourne, before being asked to leave this position in 1902 for trying to shut down the local hotel! At this time, the Melbourne Sailors’ Home was about to change its location. On 6th May 191,7, Captain James Arthur Robilliard J.P. died at Blackwood Park, in the Cobden district of Brucknell, which is now considered the first official Robilliard family homestead in Australia. He was buried in the Melbourne General Cemetery, Victoria. His wife, Helen, passed away in 1947. The Becket and Robilliard family names continue to be well known in the Western District. Flagstaff Hill Maritime Village also has a ship’s compass in the collection that was owned by Capt. J. Robilliard and used on the ship Mary Campbell.This ship model of the MARY CAMPBELL is of local significance for its association with well well-known Warrnambool resident and ship model maker. The model is also significant for its association with the brigantine MARY CAMPBELL, a trading vessel that brought railway girders to the Melbourne Harbour Trust.Ship model "Mary Campbell": a two-masted vessel with black hull, brown masts and black rigging, displayed in a glass case with a timber frame painted green. Made by Harry McKenna.Painted on the bow in white “MARY CAMPBELL” Gold label with black print attached to display case “MODEL BY THE LATE HARRY McKENNA OF WARRNAMBOOL”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, marine artwork, model making, captain james arthur robilliard, j.a. robilliard, vessel mary campbell, ship mary campbell, melbourne sailors home, vessels, harry mckenna, mary campbell

This wooden cardholder was made from the wood of the screw steamer S.S. Edina, most probably after she was broken up in 1957, but could have been made after one of several renovations during her lifetime. The slotted design of the cardholder allows a card to stand vertically, and the base is made wider to stabilise the holder. It could be used for holding items such as place cards, menus, and table numbers. ABOUT THE SS EDINA: - The three-masted, iron-hulled screw steamer SS Edina was built in Glasgow, Scotland, in 1854 by Barclay and Curle and launched on the Clyde on May 4th, 1854. The 322-ton, three-masted ship was 171 feet long, 23 feet 6 inches broad, and 12 feet 7 inches deep (52.12 L x 7.16 B x 3.84 D metres). The traditional figurehead of Edina, the ‘fair maid of Judea’, adorned its bow. The Edina later became famous worldwide for being the longest-serving screw steamer. (The term screw steamer comes from being driven by a single propeller, sometimes called a screw, driven by a steam engine.) During its long working life, SS Edina had its accommodation enlarged for war service, was completely overhauled and serviced several times; boilers were replaced, masts were reduced to one, and later added then reduced, a Poop Deck, Forecastle and additional accommodation were added, the hull was gutted completely, new decks and bulwarks, saloon was redecorated and upgraded, and several changes of commander. The busy vessel also survived several mishaps at sea. SS Edina’s interesting history includes English Channel runs, carrying stores and horses to the Black Sea in the Crimean War as HMS Edina 1864-55. The vessel then sailed to Europe and the UK before being sold and used for further service in 1861 as a blockade runner in the American Civil War. The vessel later served as a coastal trader in the western district of Victoria and Queensland, then carried gold, currency, and gold prospectors from Australia to New Zealand. SS Edina was an escort vessel to H.R.H. the Duke of Edinburgh during his visit to Australia in 1867. SOME EVENTS in the life of SS EDINA: - The SS Edina had voyaged to Australia under sail. Owners Leith, Hull & Hamburg Steam Packet Co. sold the SS Edina in March 1863 at Port Phillip Bay, Melbourne, to Stephen Henty of Portland, Victoria; Edina was perfect for working the West Coast cargo and passenger run between Melbourne and Portland, via the Port of Warrnambool, and Port Fairy. It first visited Warrnambool on April 4, 1863. SS Edina briefly worked the run from Australia to New Zealand, then returned to the West Coast run; the cargo included bales of wool produced in the western district of Victoria. In 1867-68, Stephen Henty sold SS Edina to the Warrnambool Steam Packet Company to continue trading along the coast of western Victoria. Captain John Thompson was the commander, and John Davies was the Chief Engineer. In 1870, SS Edina was in Lady Bay, Warrnambool, when a gale sprang up and caused a collision with the iron screw steamer SS Dandenong. SS Edina’s figurehead was broken into pieces and was never replaced. The Edina was refitted that year for use as a coastal trader in Queensland for a period, named R.M.S. Edina. It then went to Melbourne and carried cargo and passengers between there and Geelong from 1880 to 1938, with modifications in 1917; the ship was extensively overhauled, radically changing its appearance. It returned to having two masts, and the funnel, bridge, engines, and promenade deck were upgraded, and the saloon reupholstered. By 1924, Edina had made over 12,000 journeys, carrying over one million travellers between Melbourne and Geelong. In 1937, Australian Steamships Pty Ltd advertised in The Argus its Bay Excursions on the SS Edina from Portarlington and Geelong; it promoted, “Splendid Beaches, Excellent Bathing Facilities, and Light Refreshments available on board”. After several collisions, the SS Edina was taken out of service in 1938 and sold by its owner, Howard Smith Ltd., to a Williamstown shipbreaker, Mr George Burton. The Melbourne Harbour Trust permitted Burton to strip the hull and sell all parts at auction. The fittings were sold by auctioneers J.W. Styles & Son, c. 1938, on site at the Port of Melbourne and became widely dispersed. Victorian Lighterage Pty Ltd. purchased the hull, removed the engine and superstructure, and repurposed it as a ‘lighter’ named Dinah. It was loaded with wool and general cargo, then towed behind small tugs around the bay between Melbourne and Geelong. In 1957, after 104 years of activity, the SS Edina was broken up on the banks of the Maribyrnong River, Footscray, Melbourne, and used as landfill. A piece of the hull with Victorian Heritage significance is buried in the river. This card holder is made from wood from the SS Edina and is significant for its association with that vessel. The SS Edina is heritage listed on the Victorian Heritage Database VHR S199. She had endeared herself to the people of Port Phillip Bay as a passenger ferry, part of their history and culture. She played a significant role in the Crimean War, the American Civil War and the gold rush in New Zealand. She also served Western Victoria for many years in her cargo and passenger runs. The SS Edina is famous for being the longest-serving screw steamer in the world. After spending her first nine years overseas, she arrived in Melbourne, and her work included running the essential service of transporting cargo and passengers between Melbourne and the western Victoria ports of Warrnambool, Port Fairy and Portland. The SS Edina was purchased in the late 1860s by local Warrnambool business, the Warrnambool Steam Packet Co. and continued trading from there as part of the local business community. The SS Edina’s original ‘fair maid of Judea’ figurehead was broken to pieces in a collision with another vessel (the SS Dandenong) in a gale off Warrnambool, Victoria, in 1870. Card holder, made from the wood from the SS Edina (screw steamer ship). Holder is cylindrical shape, wider turned wood base. Top is divided with a space in the centre tor inserting a card. Rectangular metal plaque, gold-coloured, has a printed inscription within black border. Made c. 1854 - 1957.Printed on plaque "MADE FROM / THE WOOD OF / S.S. EDINA"warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, barclay & curle, figurehead 'fair maid of judea', centenary maritime exhibition 1934, a brief review of steam navigation in victoria, pleasure steamer edina, trade and travel late 19th and early 20th century, trade melbourne to geelong, screw steamer edina, coastal trader edina, lighter dinah, cargo carrying for cremean war, cargo carrying for american civil war, passenger and trade in western district of victoria, export gold and currency and gold diggers to new zealand, export vessel to h r h the duke of edinburgh, melbourne - warrnambool - port fairy - portland cargo run, warrnambool steam packet company, stephen henty, captain john thompson, chief engineer john davies, lady bay warrnambool, lighter edina, shipping victoria, port phillip bay steamers, steamship great britain, edina, vhr s199 victorian heritage database, card holder, menu holder, table number holder, souvenir of the ss edina

The SS ‘Excelsior’ was an iron screw steamer, built in Southampton, England, in 1882 and first registered in Melbourne, Victoria, in 1882. Her journey from Southampton, England to Melbourne, Victoria is reported to have taken just 66 days. She would prove to be a very popular vessel on Port Phillip Bay, though her reign may have been relatively short as she was sunk in 1890. She was refloated sometime between 1890 to 1900 as some records state 1890, others at 1900. Gross Tonnage: 350, Net Tonnage: 172, Length: 186 ft 6 in (56.85 m), Beam: 21 ft 1 in (6.43 m), Depth: 10 ft 7 in (3.23 m), First Owner: Huddart Parker & Co. A Timeline of SS Excelsior’s life: 15 Jan 1883 → the SS ‘Excelsior’ commenced the Melbourne to Geelong run. 27 Jan 1940 21 Jan 1890 →the SS ‘Flora’ ran aground whilst heading out to Hobart, Tasmania, on a tight bend in the Yarra River at Spotswood. Whilst stuck fast in the mud, the SS ‘Excelsior’ ran into her stern – thankfully the damage to both vessels was only minor. 9 Jan 1897 → The SS ‘Excelsior’ sank the Ketch ‘Lu Lu’ on the south bank of the Hopetoun Channel near Geelong, Victoria. Blame is shared between Captains of both vessels: At the meeting of the Marine Board the report of the nautical expert committee, relative to the collision between the steamer Excelsior and ketch Lulu, was considered. The committee recommended that the matter should be remitted to the Marine Court, and a charge of misconduct preferred against Gilbert Moore, master of the Excelsior. Mr Wilson, one of the committee, dissented. He thought in view of the nature of the evidence charges should be preferred against both masters. Mr Dickens moved an amendment to the latter effect, but it was rejected, and the report adopted. 11 Jul 1899 → The SS ‘Edina’ sinks the SS ‘Excelsior’ during thick fog: Shortly after, half-past 11 o’clock this, morning a serious collision took place in Port Phillip Bay between the steamers Edina and the Excelsior. The Edina was on her way to Geelong, to which place she makes a trip every forenoon in the course of her trade with that port, and the Excelsior was coming up the bay to Melbourne. The weather was calm but thick, and a fog hung over the water. The Edina struck the Excelsior on the port side amidships, and she sank within a quarter of an hour. Both vessels carried a large number of passengers, and large cargoes, but there was very little excitement. The whole thing happened so suddenly that until the crash came those on board the steamers were not aware that any other boat was near at all. When both vessels began to draw away after the collision it was at once seen that the Excelsior was the most seriously injured of the two, and she at once began to settle down rapidly. Some of the Excelsior’s passengers were dragged on board the Edina at once, while the remainder, including the crew, were rescued by boats. As far as can be ascertained no one was drowned, but some 20 or 25 were injured. Dr. Wilson, headmaster of the Brighton Presbyterian Ladies’ College, was perhaps the most seriously injured of the Excelsior’s passengers. He was looking down the companion ladder ‘when the collision took place, and he was thrown violently below, sustaining a compound fracture of the right fore-arm. When attended to it was found, that he suffered severely from the shook of his fall and was rather in a bad way. A lady passenger by the Excelsior had her side lacerated, while another had her ankle sprained. The remainder of the others injured had either small cuts or were suffering from shock. The Excelsior went down stern first, and now lies in about five fathoms of water, with her bow above the surface. The Edina is almost uninjured, but she will be immediately placed in dock, as she is making water slightly. c 1900 → The SS ‘Excelsior’ was raised from her watery grave where a large cut can be seen on the SS Excelsior in dock and reveals the breach made and damage done by the Edina. c 1939 → Records regarding the SS ‘Excelsior’ are elusive until c 1939, when she was commissioned to relocate to Brisbane, Queensland, during the Second World War: The Excelsior came to Brisbane on a voyage north during the 1939-45 War. Being unseaworthy she could not be taken further and was used here as a workshop. After the war, she was discarded on Bishop Island. c 1946 → Sometime after WWII was over, the SS ‘Excelsior’ joined many a ship in the graveyard at Bishop Island in Queensland. The island has been the site for the disposal of many ships. Ships recorded as being discarded here include the Groper, Adonis, Roderick Dhu, Excelsior, Yosemite, Maida, Civility, Captain Cook, Bingera, St. Kilda, Lucinda, Moreton, Miner, Schnapper, Lochiel, Queensland, Victoria, and BadgerThe SS Excelsior is a well known ship from the history of Geelong. Its collision with the equally well known SS Edina is of particular interest to Geelong. She was a famous ship in the reckon of Port Phillip despite her short life stand, especially when compared to the SS Edina. Colour painting of ship departingship collision, ship wreck, ss excelsior, ss edina, bishop island

This photograph and a matching earlier photograph are images of a 1989 oil-on-canvas painting owned by the donor. They show the British sail and steam ship SS Warrnambool at Dover Strait in the English Channel. Each photograph was accompanied by a letter, one written in 2001 and the other in 2003, confirming that the artist of the painting was by Charles Keith Miller, signed with his initials “CKM” and dated “1893”. The images show the ship’s home flag with a diagonal blue anchor flying from the masthead. The same symbol is painted on the ship’s black funnel. The signal flags on the foremast display ‘M’ ‘R’ ‘V’ ‘B’, with each flag signalling a meaning in the International Code of Signals. While the SS Warrnambool was visiting Melbourne on its maiden voyage on December 1, 1892, a painting of that Lind Line ship by marine artist C.K. Miller was presented to the Town Council of Warrnambool by Mr. William Lund of London, owner of the Lind Line, or Blue Anchor Line. At that time, the Ladies of Warrnambool presented the ship with a ‘house’ flag bearing the Blue Anchor Line’s symbol, made by them especially for the occasion during the preceding moth. On December 6, the homeward bound ship anchored for a short time off the Port of Warrnambool, and a boat was launched from Lady Bay to take a group of friends to the ship with a delivery of gifts. After three cheers each for the ship and its Captain the SS Warrnambool continued its journey towards Britain via Adelaide. Although the painting was gifted in December 1892, it is post-dated “1893”. The reason for the discrepancy is unclear but whatever the reason, the provenance of the painting was confirmed at auctions of this painting and other works by the same artist. CHARLES KEITH MILLER 1836-1907:- Captain Charles Miller left his home in Scotland at the age of 15 years for a life at sea. He earned his Master’s Certificate ten years later. After being the captain of sailing ships, he moved to the steamships because they were faster. He married in 1866 and settled in Glasgow. Over the following eleven years, he and his wife had five children, then sadly, his wife passed away. Captain Miller returned to the sea for a while, but in 1888, he gave up his sea life to spend his time as a marine artist. His understanding of seafaring life and vessels, combined with his artistic skills, enabled him to produce fine art, and several galleries and museums have collections of his sought-after works. S.S. WARRNAMBOOL 1892-1925:- The sail and steamship SS Warrnambool was built in 1892 by the Sunderland Ship Building Company for the Lund Line of London, founded by William Lund in 1869, and registered in London. It efficiently carried passengers and cargo worldwide, including Australia, under its master, Captain Joshua Edward Ilbery, who had many years of experience with the Lund’s Blue Anchor Line, or BAL, which owned a fleet of sail and steamships. The funnels its steamships were painted black, with a white band around the top bearing a diagonal blue anchor and chain, also shown on the company’s house flag. The Lund Line ships were given Australian place names beginning with the letter “W”. Master Mariner, Captain Joshua Ilbery, was lost at sea without a trace in 1909, along with the ship SS Waratah. The ‘no frills’ service carried passengers and cargo to and from Europe around the Cape of Good Hope, stopping at various ports. The ship was involved in bringing home returned soldiers in 1895. At one time, it carried a doctor from Victoria, Australia, to assist at the war front in South Africa. The ship had a very good reputation for its cargo arriving almost always in excellent condition. Exported goods from Australia included iron safes, flour, wool, apples, frozen rabbits, butter, cheese, pork, cattle, poultry and sheep. One remarkable delivery contained Ostriches for Queen Victoria, and they survived the journey well. The SS Warrnambool was sold in 1900 to the British and South American Steam Navigation Co. Ltd of Liverpool and was renamed ‘Harmodius’. R.P. Houston & Company of London managed the company, and its Houston Line funnels were red with a black top. The Harmodius was sold in 1919 to K.S.S. Co. Ltd, managed by Kaye Son & Co. Ltd. of Liverpool, and was renamed ‘Kut’. The line had black funnels with a white ‘K’ in a diamond or between white stripes. In 1926, it was purchased by T.W. Ward Ltd. and broken up. NOTE- other vessels named “Warrnambool” Two other vessels carried the name “Warrnambool” (1)- HMAS Warrnambool J202 (1941-1947), a Bathurst-class corvette vessel owned by the Royal Australian Navy, was destroyed by a mine. (2)- HMAS Warrnambool FCPB204 (1980-2005), a Fremantle Class Patrol Boat of the RAN. The photograph is significant for its association with the painting "SS Warrnambool" by renowned marine artist Charles Keith Miller, whose paintings are well valued. The painting by C K Miller, the photograph, both bear the name Warrnambool, and the house flag of the Lind Line, are connected through the gifts exchanged between the ship company owner, the Town of Warrnambool and the Ladies of Warrnambool. The images connect the SS Warrnambool to the international trade of cargo and passengers. Coloured photograph of a painting depicting the Blue Anchor Line’s 1892 steamship S.S. Warrnambool. The three-masted ship in calm water. Its sails are lowered, and smoke is rising from its funnel. It displays four raised signal flags, a house flag and a blue ensign on the ship. The funnel also bears the house flag's symbol. There are figures on deck. The signature of the painting's artist, CKM (Charles Keith Miller), and a title on the lower edge of the photograph.House flag symbol, [diagonal blue anchor on white background] Text "CKM" and "1893" Text "S. S. WARRNAMBOOL."flagstaff hill, warrnambool, photograph, steam ship warrnambool, flagstaff hill maritime village, shipwreck coast, ss warrnambool, captain, charles keith miller, ckm, 1893, william lund, warrnambool town council, blue anchor line, lund line, ladies of warrnambool, house flag, diagonal blue anchor, captain miller, sunderland ship building company, migrant ship, 1892 ship, home flag, bal, australian export, s.s.warrnambool, dover strait, english chanel, port of warrnambool, lady bay, mrvb, captain charles miller, captain joshua edward iibery, ostriches, queen victoria, british and south american steam navigation co., harmodius, r.p. houston & company, houston line, k.s.s. co. ltd, kaye son & co. ltd, kut, t.w. ward ltd

The British wooden sash fillister plane is an old plane designed for rebate or rabbet work on sash windows to cut a groove or channel to allow a window to move up and down. The function and design of the sash fillister plane is a cross between the wooden moving fillister plane and the wooden plough plane. The wooden sash fillister plane is equipped with a fence, depth stop, nicker, skewed cutter and wedge. The plane has a hardwood main body, a hardwood moving fence and usually a variety of brass decorative and functional parts. The body and fence are nearly always made from beech as this was the hardwood of choice at the time these plane were made due to price and availability. Sometimes these planes are seen in other types of wood with the best examples being made from boxwood, rosewood and also there are some ebony fillister planes. Manufacturer: In 1792 John Manners had set up a workshop making woodworking planes at 14 Saracens Lane Glasgow. He also had employed an apprentice Alexander Mathieson (1773-1851). But in the following year at Saracen's Lane, the 1841 census describes Alexander Mathieson as a master plane-maker now at 38 Saracen Lane with his son Thomas Adam working with him as a journeyman plane-maker. Presumably, Alexander must have taken over the premises and business of John Manners. Now that the business had Thomas Adam Mathieson working with his father it gradually grew and became more diversified, and it is recorded at the time by the Post-Office Glasgow Annual Directory that by 1847-1848 Alexander Mathieson was a “plane, brace, bit, auger & edge tool maker” In 1849 the firm of James & William Stewart at 65 Nicolson Street, Edinburgh was taken over and Thomas was put in charge of the business, trading under the name Thomas A. Mathieson & Co. as plane and edge-tool makers. Thomas's company went on to acquire the Edinburgh edge-tool makers “Charles & Hugh McPherson” and took over their premises in Gilmore Street. In the Edinburgh directory of 1856/7, the business is recorded as being Alexander Mathieson & Son, plane and edge-tool makers at 48 Nicolson Street and Paul's Work, Gilmore Street Edinburgh. The 1851 census Alexander is recorded as working as a tool and plane-maker employing eight men. Later that year Alexander died and his son Thomas took over the business. Under the heading of an edge-tool maker in the 1852/3 Post-Office Glasgow Annual Directory the firm is now listed as Alexander Mathieson & Son, with further entries as "turning-lathe and vice manufacturers". By the early 1850s, the business had moved to 24 Saracen Lane. The directory for 1857/8 records that the firm had moved again only a few years later to East Campbell Street, off the Gallowgate area, and that through further diversification was also manufacturing coopers' and tinmen's tools. The ten-yearly censuses report the firm's growth in 1861 stating that Thomas was a tool manufacturer employing 95 men and 30 boys; in 1871 he had 200 men working for him and in 1881 300 men. By 1899 the firm had been incorporated as Alexander Mathieson & Sons Ltd, even though only Alexander's son Thomas appears ever to have joined the firm so the company was still in his fathers' name. In September 1868 Thomas Mathieson put a notice in the newspapers of the Sheffield & Rotherham Independent and the Sheffield Daily Telegraph stating that his firm had used the trade-mark of a crescent and star "for some time" and that "using or imitating the Mark would be proceeded against for infringement". The firm had acquired its interest in the crescent-and-star mark from the heirs of Charles Pickslay, the Sheffield cutler who had registered it with the Cutlers' Company in 1833 and had died in 1852. The year 1868 seems also to be the one in which the name Saracen Tool Works was first adopted; not only does it figure at the foot of the notice in the Sheffield press, it also makes its first appearance in the firm's entry in the Post-Office Glasgow Annual Directory in the 1868/9 edition. As Thomas Mathieson's business grew, so too did his involvement in local public life and philanthropy. One of the representatives of the third ward on the town council of Glasgow, he became a river bailie in 1868, a magistrate in 1870 and a preceptor of Hutcheson's Hospital in 1878. He had a passion for books and was an "ardent Ruskinian". He served on the committee handling the bequest for the setting up of the Mitchell Library in Glasgow. When he died at Coulter Maynes near Biggar in 1899, he left an estate worth £142,764.  Company's later years: Both Thomas's sons, James Harper and Thomas Ogilvie were involved in the continuing life of the firm. James followed in his father's footsteps in becoming a local public figure. He was appointed Deputy Lieutenant of the County of the City of Glasgow and was made a deacon of the Incorporation of the Hammermen of Glasgow in 1919. His brother Thomas Ogilvie was recorded as tool manufacturer and employer in the 1911 census. Thomas Ogilvie's son Thomas Alastair Sutherland Ogilvie Mathieson was born in 1908 took a rather different approach to engineering, however, by becoming a racing driver. In 1947 he wed the French film actress Mila Parély. The firm had won many awards at world fairs for their goods. At the Great Exhibition, London, 1851. Prize medal for joiners' tools in the class of Cutlery & Edge Tools, Great London Exposition, 1862. Prize medal honoris causa. International Exhibition, Melbourne, 1880. Gold medal International Exhibition of Industry, Science and Art, Edinburgh, 1886. Prize medalThe firm of Alexander Mathieson & Sons was one of the leading makers of hand tools in Scotland. Its success went hand in hand with the growth of the shipbuilding industries on the Firth of Clyde in the nineteenth century and the emergence of Glasgow as the "second city of the Empire". It also reflected the firm's skill in responding to an unprecedented demand for quality tools by shipyards, cooperages and other industries, both locally and far and wide.Sash Fillister Plane, with iron set skewed, the iron is 1 3/4 inches wide. Plane has a sliding adjusting fence, thumb screw depth stop and two knocking iron . Stamped W. Worrall, (owner) No 17. Maker A Mathieson & Sonflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, fillister sash plane, window making tool, carpenders tools, alex mathieson & sons, sash windows

0 - No 9 - 1/4/2011 - Rhinos on skateboards, Did you know, Spencer St works, 00 - No 10 - 19/4/2011 - safety boards, busting ghost routes, works alerts, travelling without tickets, launch of a new tram network maps and compliments received from customers. .1 - No. 11 of 3/5/2011 with the revised Yarra trams logo, traffic priority, work over Easter in Spencer St at Bourke and Collins St, Good Friday appeal, safety, passenger feedback and future works. .2 - No. 13 - 31/5/2011 - new uniform, cleaning, CEPR, trackwork - Fitzroy St, Northcote, Rhino, Carlton Control. .3 - No. 14 - 15/6/2011 - Haymarket Roundabout, accessibility, maintenance, CSE. 3a - No. 16 - 19/7/2011 - Managers on the move, Trevor Jones, Yarra's vision, Richard Ch'ng and Rhino update. .4 - No. 17 - 2/8/2011 - High St Westgarth trackwork, Swanston St, IMF CEO visit .5 - No. 18 - 16/8/2011 - Performance benchmarks met, Preston Workshops, repairs to 3018, tram signal priority. .6 - No . 19 - 30/8/2011 - New E class trams, routes "a" or "d", TramTracker in shelters, police, fare evasion .7 - No. 20 - 15/9/2011 - Football trams, Superstops, Bridge Road, Rhinos. .8 - No. 21 - 27/9/2011 - CEO's journey to work, accessibility, increased patronage, E class. .8a - No. 22 - 11/10/2011 - Minister Mulder visit, E class, Customer experience, Elizabeth Kerdelhue Corporate Affairs Director, flood indicator in Wellington Parade, Keolis - Orleans and PTV coming your way. .9 - No. 23 - 25/10/2011 - forthcoming royal visit, opening for Footscray Road extension, Rhinos, Stockholm .10 - No. 24 - 8/11/2011- Royal visit, photos, Z3 158, route 86 works in High St. (see htd5043i21 for a image from an unknown newspaper of the actual event - features Z3 158.) .11 - No. 25 - 22/11/2011 - new staff guide, Gold Coast tram line, Macarthur St, overhead, fund raising, route numbering update. .12 - No. 26 - 6/12/2011 - Swanston St Superstops, Newmarket bridge strikes, rhinos. .13 - No. 27 - 20/12/2011 - Christmas carnival, Lenny Bates, portable crossover, uniforms. .14 - No. 28 - 17/1/2012 - Passing of Len Bates, Myki, Gardiner railway station. 14a - No. 29 - 31/1/2012 - Southbank depot, patronage, myki, think like a passenger, fatigue management, .15 - No. 30 - 15/2/2012 - visit of Keolis, SNCF people, list of Executive leadership team with photos, Swanston St works, Myki introduction. .16 - No. 31 - 29/2/2012 - patronage up, tram postage stamps, Myki, rhinos. .17 - No. 32 - 14/3/2012 - St Kilda Rd trackwork, fund raising, Southbank Depot extensions, Myki, driving conditions, grand prix. .18 - No. 33 - 30/3/2012 - introduction of the PTV, end of MetLink and Transport Ticketing Authority, changes in management structure, trackwork, Gold Coast tramway and Keolis. .19 - No. 34 - Dr Jake - Royal children's Hospital super stop, route 96 - Premium line. .20 - No. 35, 2/5/2012 - Revision of Rules, trackwork in St Kilda Road and Elizabeth St, Myki, safety - Zero Harm. .21 - No. 69 - 25/9/2013 - Passengers paying their way, E class update, Mal Ashworth retires, progress report, feedback, new chime on trams. .22 - No. 70 - 9/10/2013 - Art comes alive, tram 925, driver simulator at Preston Workshops, E class project, 90th Glen Huntly. .23 - No. 83 - 23/4/2014 - Screen time for trams, new PIDs on B class, assistance animals, Operations Centre, Preston Workshops, Electrical log sheets to SLV. .24 - No. 89 - 23/7/2014 - punctuality, refresh of network map (fold-out map), women drivers. .25 - No. 97 - 19/11/2014 - Revitalising route 96, Keolis news, free tram zone, guide dogs. .26 - No. 99 - 17/12/2014 - Accessibility week, new uniform top for CSE's, free tram zone, world trade centre stop upgrade, heat stress, Art tram 158. .27 - No. 100 - 14/1/2015 - Route 96 complete, New Years eve free travel, fare compliance, patronage down, .28 - No. 12 - 16/5/2011 - Gold coast tramway, performance dashboard, tramworks and the rhino .29 - No. 16 - 19/7/2011 - Depot managers, tevor jones, record patronage, vision, rhino .30 - No. 17 - 2/8/2011 - High St Westgarth works, Duncan Smith, David Clarke Training, Swanston St works, and Preston Workshops . .32 - No. 39 - 28/6.2012 - maintenance, Emmanual Sorin, transformation, fare evasion, and Combino in Potsdam. .33 - No. 105 - 25/3/2015 - Grand Prix, Elgin and Lygon upgrade, Camberwell Junction, PTV hub, overhead. .34 - No. 78 - 12/2/2014 - January heatwave, Australian Open, Mark Wild of PTV, and Curt Skinner - voice in Channel 10 series Get Ace .35 - No. 81 - 26/3/2014 - drug and alcohol testing, zero harm, Victoria Bridge works, Keolis, relations with Toronto, Collins St safety and incident on a route 57 tram. .36 - No. 109 - 20/5/2015 - Goodbye Z class, Hello E class, Kew Depot centenary, drug & alcohol reminder, passenger satisfaction, Anzac day, B class life extension. .37 - No. 110 - 3/6/2015 - 3rd W class tram back grom Bendigo, employer of the year, CSE's go digital, Camberwell depot, Queensbridge tram and bus stop and Tram Hub preview. .38 - No. 115 - Feb. 2016 - 12 page centre stapled - New Year's eve services, spike the rhino is back, Burke Road level crossing removed, more E class, safe network in 2106, tennis, customers happy, New Preston depot, Farewell to Clement, Z class 40 years on network.Demonstrates Yarra trams staff newsletters.Set of 34 Yarra Trams internal newsletter "The Wire", All A4, printed in full colour. All four pages unless noted otherwise, full colour, performance snapshot on front cover.trams, tramways, yarra trams, traffic control, trackwork, spencer st, fund raising, operations, rhinos, carlton control, high st, haymarket, preston workshops, e class, route numbers, bridge road, wellington parade, ptv, royal visit, footscray road, gold coast, macarthur st, swanston st, superstops, newmarket, gardiner, burke road, level crossings, railway squares, myki, metlink, tickets, route 96, rules, st kilda road, elizabeth st, tram 158, tram 925, glen huntly depot, simulator, b class, opeations centre, art trams, patronage, kew depot, new preston, queensbridge, w class, bendigo, map

This photograph records the interior of St Nicholas Seamen's Church at 139 Nelson Place, Williamstown, Victoria, which was purchased and furnished around 1943. The furniture and furnishings are now part of the St. Nicholas Seamen's Church collection. HISTORY of the Missions to Seamen: - DETAILED HISTORY of the Missions to Seamen: - The Missions to Seamen is an Anglican (Church of England) charity that has served the world’s seafarers since 1856. It was inspired by the work of Rev. John Ashley, who, 20 years earlier, had pioneered a ministry to seafarers in the Bristol Channel in Great Britain. When Ashley retired, others continued the work, founding the Missions to Seamen. It adopted a Flying Angel as its symbol, inspired by a verse from the Bible in Revelation 14. Today, over 200 world ports have Missions to Seamen centres and chaplains. A Missions to Seamen’s Club warmly welcomes sailors of all colours, creeds and races and provides a wide range of facilities. The Missions to Seamen organisation changed its name to the Mission to Seafarers in 2000, continuing to include Missions to Seamen clubs in Victoria’s cities of Melbourne, Portland, Geelong and Hastings. Flagstaff Hill’s St Nicholas’ Seamen’s Church is named after its namesake from Williamstown, Victoria, which began in 1857. Bishop Perry opened the first Sailors’ Church there, known as ‘Bethel’, on an old hulk floating in Hobson’s Bay, Port of Melbourne. In 1860, a Sailors’ Rest started operating from rented premises in Williamstown. In 1878, the Sailors’ Church moved into an old Wesleyan chapel in Ann Street. By the end of that year, they managed to purchase the building, which they had already refurbished. In 1883, they affiliated with the Victorian Seamen’s Mission. A few years later, in 1906, the building had to be demolished because it was no longer safe. While they raised funds for a new building, the Sailors’ Rest temporarily moved to premises in front of Customs House in Nelson Place. Around this time, in 1906, the Ladies Harbour Lights Guild was formed in Australia to support and raise funds for the Mission to Seamen organisation in Melbourne. Two of the most significant ladies of the Guild were founding members Ethel Godfrey and Alice Sibthorpe. During the Mission's time at Siddeley Street, Melbourne, the activities of the Guild raised funds for the Mission to Seamen's Chapel at their new, and still current, premises in Flinders Street, Melbourne, opened in 1917. The Guild continued its important work until the 1960s. In 1908, the Williamstown Mission had enough money to purchase the former Mascotte skating rink on Thompson Street, Williamstown. In August of that year, they were inaugurated into the Victorian Missions to Seamen. They continued at that venue for a few decades. In 1943, the former ES&A Bank building at 139 Nelson Place, Williamstown, was purchased to become the new Mission to Seamen’s Club. On May 6th, 1944, it was officially opened, described as a ‘distinctive little building’. Funds had previously been raised for the building and furnishing of the chapel at the rear. The chapel was named St Nicholas’ Seamen’s Church, after St Nicholas, fourth-century bishop and patron saint of sailors. Services were held on Wednesdays and Sundays. The church was supported by the Williamstown Lightkeepers’ Auxiliary, newly founded by Mrs Ethel Margaret Musther in 1943, as well as the Harbour Lights Guild and the League of Soldiers’ and Sailors’ Friends. The Williamstown Mission to Seamen’s Church operated until 1966, when large international ships no longer used the Port of Williamstown. The Commonwealth Government then leased the premises. In the formative years of Flagstaff Hill Maritime Village, the Advisory Board decided to include a Missions to Seamen Chapel and Recreation Room in its village. The Missions organisation was a significant feature of ports during the late 1800s and early 1900s, the period that the Village represents. They often erected Missions to house social and worshipful activities for seamen. Flagstaff Hill’s curator, Mr Ken Marshman, approached the Melbourne Board of Management of Missions to Seamen regarding the Williamstown branch. Consequently, the Board permitted the furnishings of the Williamstown chapel to be transferred to Flagstaff Hill Maritime Village. A provision of the transfer was that the Victoria Missions to Seamen be recognised, that the items would remain as a collection, and that the chapel would be called St Nicholas Seamen’s Church and conduct Divine services. The donation was approved on 21st May 1979. Flagstaff Hill's St. Nicholas Seamen's Church: - The idea behind Flagstaff Hill’s Missions to Seamen’s Church was partly driven by the offer of Stained Glass Memorial Windows that originated from the Warrnambool and District Base Hospital, which was undergoing multi-storey expansion in the late 1960s and early 1970s. The hospital’s Manager/Secretary was eager to see the historic window installed in a suitable place. The church, or chapel, was designed by a local architectural draftsman in collaboration with the Flagstaff Hill Planning Board and was constructed by Mr Leon Habel. The designers hoped that the church would be used for formal worship such as weddings, funerals, and multi-denominational special services like war commemorations. The design is inspired by the ‘Missions to Seamen’ buildings in Portland and the Port of Melbourne. The furniture and furnishings were placed as accurately as possible according to photographs of the Williamstown St Nicholas Seamen’s Church and with assistance from local clergy. The Recreation Room was furnished and arranged on advice from experienced members of the Missions to Seamen organisation. A framed document in the building recognises the donor of the furnishings, Victoria Missions to Seamen, and includes the names of some original donors and their donated item/s. The building’s design incorporates local features such as Warrnambool sandstone, which was no longer commercially available but was procured from demolished buildings and uniformly cut to use as a veneer over the stronger Mt. Gambier stone. Also, traditional green American roofing slate was used, sourced from the 1908 local shipwreck “Falls of Halladale” by Flagstaff Hill volunteer divers. The bell tower includes a bell believed to be from a local shipwreck. Additional furnishings were acquired locally, along with several items donated by Warrnambool residents. Light fittings in both rooms were assembled to simulate 19th-century gas light fittings. The stained-glass window at the back of the church is a memorial to Dr Connell, a well-respected member of the Warrnambool community. It was originally installed in 1928 in the main building of Warrnambool Hospital. The St Nicholas’ Seamen’s Church at Flagstaff Hill was officially opened by His Worship the Mayor, Cr. John Lindsay, on Sunday, 11th October 1981. The event included a service of thanksgiving conducted by the Warrnambool Ministers Fraternal. Since then, the Chapel has been the historic venue for many weddings. This photograph is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857. The building in the photograph is the former English, Scottish and Australian Bank (ES&A bank), also known as the Mission to Seamen. It is listed on the Victorian Heritage Database for having local historic and aesthetic interest. Photograph of St Nicholas Seamen's Church, Williamstown. Sepia photograph. The photograph shows the inside of the Chapel of Mission to Seamen, including organ, pews and other furniture and furnishings. There is a circular stained glass window high on the back wall depicting a sailor at the helm of a ship and a man standing behind him and pointing the way - "Christ Showing The Helmsman The Way". A Sanctuary Light is suspended from the ceiling. The Sanctuary chars are visible. This shows the St Nicholas Seamen's Church in Williamstown, the furnishings and furniture of which is now part of the St Nicholas Seamen's Church Collection’.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, st nicholas mission to seamen's church williamstown, mission to seamen williamstown, mission to seamen victoria, st nicholas mission to seamen, chapel window, christ showing the helmsman the way, stained glass window, st nicholas seamen's church, religion, religious service, sailor's rest, ladies harbour light guild

The term 'seat squabs' is no longer commonly used, but is sometimes referred to in the upholstery and motor vehicle industries. Squabs are padded cushions frequently added to wooden chairs or benches to add comfort to their hard forms. They have been made to an 18th-to-19th-century pattern using beautiful, richly coloured satin fabric and fancy cord tassels. The weighted flap at the rear of the squabs helps to keep them in place on the chair, and could be used on the top of the backrest instead of on the seat. These days, squabs are attached with fabric ties or hook-and-loop tabs. These seat squabs were once used in the St Nicholas Seamen's Church at 139 Nelson Place, Williamstown, Victoria, which was purchased and furnished around 1943. The furniture and furnishings are now part of the St. Nicholas Seamen's Church collection. DETAILED HISTORY of the Missions to Seamen: - The Missions to Seamen is an Anglican (Church of England) charity that has served the world’s seafarers since 1856. It was inspired by the work of Rev. John Ashley, who, 20 years earlier, had pioneered a ministry to seafarers in the Bristol Channel in Great Britain. When Ashley retired, others continued the work, founding the Missions to Seamen. It adopted a Flying Angel as its symbol, inspired by a verse from the Bible in Revelation 14. Today, over 200 world ports have Missions to Seamen centres and chaplains. A Missions to Seamen’s club warmly welcomes sailors of all colours, creeds and races and provides a wide range of facilities. The Missions to Seamen organisation changed its name to the Mission to Seafarers in 2000, continuing to include Missions to Seamen clubs in Victoria’s cities of Melbourne, Portland, Geelong and Hastings. Flagstaff Hill’s St Nicholas’ Seamen’s Church is named after its namesake from Williamstown, Victoria, which began in 1857. Bishop Perry opened the first Sailors’ Church, which was known as ‘Bethel’, on an old hulk floating in Hobson’s Bay, Port of Melbourne. In 1860, a Sailors’ Rest started operating from rented premises in Williamstown. In 1878, the Sailors’ Church moved into an old Wesleyan chapel in Ann Street. By the end of that year, they managed to purchase the building, which they had already refurbished. In 1883, they affiliated with the Victorian Seamen’s Mission. A few years later, in 1906, the building had to be demolished because it was no longer safe. While they raised funds for a new building, the Sailors’ Rest temporarily moved to premises in front of Customs House in Nelson Place. Around this time, in 1906, the Ladies Harbour Lights Guild was formed in Australia to support and raise funds for the Mission to Seamen organisation in Melbourne. Two of the most significant ladies of the Guild were founding members Ethel Godfrey and Alice Sibthorpe. During the Mission's time at Siddeley Street, Melbourne, the activities of the Guild raised funds for the Mission to Seamen's Chapel at their new, and still current, premises in Flinders Street, Melbourne, opened in 1917. The Guild continued its important work until the 1960s. In 1908, the Williamstown Mission had enough money to purchase the former Mascotte skating rink on Thompson Street, Williamstown. In August of that year, they were inaugurated into the Victorian Missions to Seamen. They continued at that venue for a few decades. In 1943, the former ES&A Bank building at 139 Nelson Place, Williamstown, was purchased for the new Mission to Seaman’s Club. The official opening was on May 6th, 1944. It was described as a ‘distinctive little building’. Funds had previously been raised for the building and furnishing of the chapel at the rear. The chapel was named St Nicholas’ Seamen’s Church, after St Nicholas, fourth-century bishop and patron saint of sailors. Services were held on Wednesdays and Sundays. The church was supported by the Williamstown Lightkeepers’ Auxiliary, newly founded by Mrs Ethel Margaret Musther in 1943, as well as the Harbour Lights Guild and the League of Soldiers’ and Sailors’ Friends. The Williamstown Mission to Seamen’s Church operated until 1966, when large international ships no longer used the Port of Williamstown. The Commonwealth Government then leased the premises. In the formative years of Flagstaff Hill Maritime Village, the Advisory Board decided to include a Missions to Seamen Chapel and Recreation Room in its village. The Missions organisation was a significant feature of ports during the late 1800s and early 1900s, the period that the Village represents. They often erected Missions to house social and worshipful activities for seamen. Flagstaff Hill’s curator, Mr Ken Marshman, approached the Melbourne Board of Management of Missions to Seamen regarding the Williamstown branch. Consequently, the Board permitted the furnishings of the Williamstown chapel to be transferred to Flagstaff Hill Maritime Village. A provision of the transfer was that the Victoria Missions to Seamen be recognised, that the items would remain as a collection, and that the chapel would be called St Nicholas Seamen’s Church and conduct Divine services. The donation was approved on 21st May 1979. Flagstaff Hill's St. Nicholas Seamen's Church: - The idea behind Flagstaff Hill’s Missions to Seamen’s Church was partly driven by the offer of Stained Glass Memorial Windows that originated from the Warrnambool and District Base Hospital, which was undergoing multi-storey expansion in the late 1960s and early 1970s. The hospital’s Manager/Secretary was eager to see the historic window installed in a suitable place. The church, or chapel, was designed by a local architectural draftsman in collaboration with the Flagstaff Hill Planning Board and was constructed by Mr Leon Habel. The designers hoped the church would be used for formal worship, such as weddings, funerals, and multi-denominational special services like war commemorations. Its design was inspired by the ‘Missions to Seamen’ buildings in Portland and the Port of Melbourne. The furniture and furnishings were placed as accurately as possible according to photographs of the Williamstown St Nicholas Seamen’s Church and with assistance from local clergy. The Recreation Room was furnished and arranged on advice from experienced members of the Missions to Seamen organisation. A framed document in the building recognises the donor of the furnishings, Victoria Missions to Seamen, and includes the names of some original donors and their donated item/s. The building’s design incorporates local features such as Warrnambool sandstone, which was no longer commercially available but was procured from demolished buildings and uniformly cut to use as a veneer over the stronger Mt. Gambier stone. Also, traditional green American roofing slate was used, sourced from the 1908 local shipwreck “Falls of Halladale” by Flagstaff Hill volunteer divers. The bell tower includes a bell believed to be from a local shipwreck. Additional furnishings were acquired locally, and several items were donated by Warrnambool residents. Light fittings in both rooms were assembled to simulate 19th-century gas light fittings. The stained-glass window at the back of the church is a memorial to Dr Connell, a well-respected member of the Warrnambool community. It was originally installed in 1928 in the main building of Warrnambool Hospital. The St Nicholas’ Seamen’s Church at Flagstaff Hill was officially opened by His Worship the Mayor, Cr. John Lindsay, on Sunday, 11th October 1981. The event included a service of thanksgiving conducted by the Warrnambool Ministers Fraternal. Since then, the Chapel has been the historic venue for many weddings. This pair of seat squabs is historically significant for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for seafarers’ physical, social, and spiritual needs. The organisation originated in Bristol, England, when a Seamen's Mission was formed in 1837. The squabs are also significant for their use in the St Nicholas Missions to Seamen's chapel, Williamstown, as the original building is now listed on the Victorian Heritage Register. Squabs or padded seat cushions, a pair of two. These 18th to 19th-century design squabs have crimson and cream satin fabric on top and underneath, and weighted tassels are attached to their rear corners. They can be used for comfort on hard seats and benches. The squabs were furnishings from the Missions to Seamen chapel in Williamstown, and they are now part of the St Nicholas Seamen's Church Collection.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, st nicholas mission to seamen's church williamstown, mission to seamen williamstown, mission to seamen victoria, st nicholas mission to seamen, st nicholas seamen's church, religion, religious service, sailor's rest, ladies harbour light guild, squab, seat covers, cushions, squabs, religious furnishing, padded seats, seating, accessory

Published: 21 March 1934 The Age p11 Published title: CROWDED TOURIST SHIP WILL CARRY TEST AND DAVIS CUP TEAMS. Published caption: Carrying an exceptionally large number of tourists, business men and prominent sporting personalities, R.M.S. Orford sailed for London yesterday. Over two hundred passengers embarked at Melbourne, and on leaving the Australian coast there will be two thousand persons on board. The Australian Test team will join the vessel at Fremantle and the remaining two Davis Cup representatives will embark at Adelaide. A picture of the Orford taken just as she moved out from Station Pier, Port Melbourne, under her own steam. Trove article identifier: http://nla.gov.au/nla.news-article203826897 Description: Passenger ship about to depart Station Pier, Port Melbourne. Research by project volunteer, Fiona Collyer: The RMS Orford was built by Vickers-Armstrong Shipyard Barrow-in-Furness, Cumbria, England and launched in 1927 by Lady Ryrie, the wife of Sir Granville Ryrie, the Australian Ambassador to the UK. The Orford was owned by the Orient Steam Navigation Ltd and was designed for the mail and passenger service between England and Australia. She was 20,000 tons, 658 ft long, 75 ft across and 80 ft high from water-line to deck. She had eight decks, a swimming pool and cost more than £1,000,000. She could travel at 20 knots – 480 miles a day, a 5 week voyage between Australia and England. There were enough lifeboats to accommodate every person on board. Promoted as a ship of comfort, luxury, speed and grace with spacious, beautifully decorated lounges, smoking-rooms and writing rooms, the SMH 23/11/1928 review said “sitting-rooms where the furniture recreates the air of quiet, exquisite, safe luxury; suites where you may retire from other people, and on a sea voyage other people, even the most charming other people, often begin to resemble one’s worst enemies towards the end of several weeks sea voyaging together”. “Travel like a human being. This is what the great liners give you today. The Orford dining room is enormous (it seated 350 people) the walls sweep up to a white, cool roof supported on decorative pillars. Panels of grey scagliola and carved designs remove the bleak, comfortless air which used to cling to dining-rooms of ships. Everything about them was so wretchedly temporary that you could not enter them without wishing that you stayed at home. They gave you the creeps and indigestion. This room is gay, bright, sunlit, like a luxurious café overlooking the sea.” “You really feel in here that you are a human being and not a piece of cargo endowed with sensation.” The Orford had the punkah louvre system of ventilation which forced draughts through every part of the ship, ensuring “No Ship Smells!!” and avoiding - “… a mayonnaise of all the unpleasant odours generated under heaven. From the hot oil of the engines, from those overheated, bottomless pits below the water-line, from new paint and food, from people perspiring at work, from rope and tar and grease and fruit and wet clothes and tobacco, rises a deplorable incense that lingers unsettlingly in the nostril long after one has left the ship. Those dreadful odours will never rise to torture the senses of passengers who feel that all is over with them.” The modern electric kitchen had a roll making machine capable of producing 2000 rolls for the table an hour and a bread and butter machine which cut the bread into slices and spread the butter in one operation. (The Week – Brisbane 30/11/1928) On 13/10/1928, the Orford made its first voyage to Australia with 520 first class and 1100 3rd class passengers. The name of the passengers embarking and disembarking and their reason for visiting were published in newspapers and the number of migrants for the New Settlers Scheme and the Dreadnought Boys Co program to promote and assist the migration of British youths willing to become farm workers in Australia 1911-1939 were noted too. On the 19th March 1932, RMS Orford featured in the “Parade of Ships” celebrating the official opening of the Sydney Harbour Bridge. Only country people were allowed to book a ticket as a guest on board. The Post Office issued commemorative postage stamps showing the Orford sailing under the bridge. In March 1934, the Orford sailed from Australia to London, via Colombo, Aden, Port Said, Naples, Villefranche, Toulon, Parma, Gibraltar and Channel Port. Amongst the 2000 passengers on board was the Davis Cup Tennis team, tennis champions Joan Hartigan and Nell Hopman, the Australian Test cricket team and British champion swimmer Joyce Cooper. Every day tennis player Harry Hopman and an Australian Press Association reporter radioed through reports on their activities, which included – - Test cricket batsman Len Darling having spend 4 days in his cabin after straining his groin when he slipped over while playing ball tennis in his slippers. - Batsman Bill Brown dancing the fox-trot, displaying footwork similar to the grace he showed at the wicket. - Alluding to the seasickness of Don Bradman and Stan McCabe and how they were making up for meals lost on the Great (very choppy) Australian Bight. - Miss Joan Hartigan discarding her bright blue shorts for brighter blue bathers and being first into the pool. - Bowler Bill O’Reilly being tripped by a passenger on the deck and spending the voyage with bandaged wrists with daily updates of his progress in the press. - Wicketkeeper Ben Barnett’s conjuring tricks and constant whirring movie camera. - Results of the quoits, ball tennis and bridge tournaments. A fancy dress ball was held one night and the cricketers dressed as sheiks and sang “The Riff Song” from the pre-code 1929 operetta film “The Desert Song” starring John Bates as the Red Shadow and Myrna Lay as a native dancing girl. Alan Kippax’s beard blew overboard! Joan Hartigan dressed as Burlington Bertie from the music hall song and Nell Hopman a doll in a box wearing a crinkled paper dress. On arrival at Southampton, while they waited for the gangway to be lowered, Bradman entertained the team at the piano playing popular tunes while the cricketers sang. . In 1935, RMS Orford’s third class accommodation was converted to tourist class. Her passenger capacity was now 468 First Class, 515 tourist class and 440 crew. First saloon from Sydney fares cost for single £76, £82, £88 and Third Class fares were £21, £23, £25. Less than a penny a mile. . In 1936, the Orford embarked the exiled Emperor of Ethiopia, Haile Selassie at Gibraltar on his way to the UK. In 1939, she was requisitioned for Australian government service and on 7/1/1940 she conveyed the first Australian troops to Egypt and was then used to carry French troops from Tamatave, Madagascar to Marseilles. On 1/6/1940 RMS Orford was bombed and set on fire at Marseilles by German aircraft. 14 crew were killed, 25 wounded. In 1947, the wreck was re-floated and broken up at Savona. . . References: R.M.S. ORFORD. (1928, November 23). The Sydney Morning Herald (NSW : 1842 - 1954), p. 14. Retrieved September 15, 2023, from http://nla.gov.au/nla.news-article16511535 ARRIVAL OF THE ORFORD (1928, November 30). The Week (Brisbane, Qld. : 1876 - 1934), p. 21. Retrieved September 15, 2023, from http://nla.gov.au/nla.news-article181126802 CROWDED TOURIST SHIP WILL CARRY TEST AND DAVIS CUP TEAMS. (1934, March 21). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved October 5, 2023, from http://nla.gov.au/nla.news-article203826897 Photographer notations on slide: "B19".tennis, ships

The Commercial Egg Producers' Association of Victoria was active by the 1930s, engaging in industry management and lobbying.The Commercial Egg Producer's Association (CEPA) had branches in Bendigo, South Bendigo, Eaglehawk, Wedderburn, Murrabit and Euroa.CEPA Commercial Egg Producer's Association (Bendigo Region) correspondence, for the year 1987. This item includes the following documents: 8504.43a Victorian Egg Board 1986-1987 Report - 28 pages 8504.43b Key points to the Egg Producers Association's letter regarding the Public Bodies Review Committee Report, The Association largely supports the Report, with a few exceptions 8504.43c From Egg Farmers of Victoria. Introduction of Shell Thickness StandardA new minimum shell thickness standard (0.325 mm, measured by Specific Gravity) will be introduced to improve egg quality and reduce breakage.The standard is part of a 5-year plan to upgrade shell egg quality standards.Benefits for Producers and Consumers 8504.43d The Public Bodies Review Committee is holding a public hearing on Thursday, 22 October 1987 at 10:00 a.m. at their Melbourne offices. 8504.43e The Public Bodies Review Committee acknowledges receipt of a letter from the Commercial Egg Producers' Association of Victoria, which included supporting correspondence regarding the Committee's Inquiry into the Egg Industry. 8504.43f Formal notice by the Victorian Prices Commissioner regarding the planned review of egg prices and industry conditions in Victoria for 1987. The Prices Commissioner intends to conduct a further review of Victorian egg prices, to be completed in the second half of 1987. 8504.43g From the Egg Farmers of Victoria circular re the Commonwealth Hen Levy 8504.43h From the Egg Farmers of Victoria circular re Permit Hens for local egg products 8504.43i This document is a formal response from the Victorian Egg Marketing Board to the Commercial Egg Producers Association regarding egg pricing and policy issues. 8504.43j Victorian and New South Wales Ministers of Agriculture have announced a new company. Good Food Products Australia Pty. Ltd. is initially wholly owned by the New South Wales Egg Corporation and the Victorian Egg Marketing Board. 8504.43k From Egg Farmers of Victoria. Food Products Australia Pty. Ltd. has been established as a proprietary limited company.Ownership is split: New South Wales Egg Corporation holds 55% and Victorian Egg Marketing Board holds 45%, based on quota.Legal documents have been signed and executed by both Boards. 8504.43l Circulars from the Egg Farmers of Victoria 8504.43m From Crystal Industries, summary of Egg washing at a grading facility which provide several key benefits for poultry farmers. 8504.43n This document is a formal letter from the Victorian Egg Marketing Board to the Secretary of the Commercial Egg Producers' Association. The Board is forwarding a letter from Mr. B.D. Croke, V.C.A.H., to the Association.The Board considers that letters of support are best provided by individuals who are familiar with the relevant course or have participated in it.The letter is signed by the Secretary of the Victorian Egg Marketing Board and includes standard contact information. 8504.43o This document is an official notice from the Department of Agriculture and Rural Affairs, inviting individuals and organizations to prepare deputations for meetings with Victorian Ministers during their visit to Bendigo on October 15-16, 1987. 8504.43p Newspaper Article. New Zealand's poultry and egg industry, highlights the transition from a tightly regulated system to a free market and its immediate effects 8504.43q Letter to the Minister for Agriculture and Rural Affairs re the Public Bodies Review Committee report to the Victorian Egg Marketing Board. 8504.43r Letter to the Egg Farmers of Victoria. The document discusses issues related to grading systems, including the possibility of returning to an old grading method and the challenges of differentiating grades across various programs. 8504.43s To the Egg Farmer of Victoria. The Association is formally requesting the installation of a washing machine at the Crystal Grading Floor in Bendigo. All producers are expected to contribute to the purchase, ensuring equal privilege for both metropolitan and country producers. 8504.43t To the Public Bodies Review Committee. CEPAr expresses strong support for maintaining the quota system in the egg industry. 8504.43u The document is a formal letter from the Commercial Egg Producers' Association outlining several key concerns and requests: The Association asks the Rural Affairs Committee of the State Parliament to receive a deputation of four members to discuss the future of the egg industry. 8504.43v To the Egg farmers of Victoria. CEPA request the immediate rise in the price of eggs. 8504.43w To Alan Fels, Price Commissioner re egg prices. 8504.43x To Alan Fels, Price Commissioner re egg prices. The Commercial Egg Producers' Association is involved in the Egg Production Committee and emphasizes that their cost figures are more accurate than those used in previous profitability assessments. The association believes the Minister's criteria for efficiency are reasonable but disagrees with the method for determining efficient producers. 8504.43y This document presents the position of the Central Council of the Commercial Egg Producers' Association of Victoria regarding regulatory changes in the egg industry, with a focus on experiences in New Zealand and implications for Victoria. 8504.43z The document is a formal letter from CEPA submitting a panel of candidate names for the position of Producer Member on the Victorian Egg Marketing Board. Contact BHS for details. 8504.43aa From CEPA The document outlines concerns from Victorian egg producers regarding pricing policies and cost calculations affecting their industry:Critique of the Pro Fels Report. The report defines an 'efficient' egg producer as one with at least 20,000 hens in a controlled environment, which does not reflect the reality for most local farms. Cost calculations in the report are based on this model, ignoring the fact that many farms operate with fewer hens and older facilities.Labour and interest rates used in the report are not representative of actual conditions. 8504.43ab The document is a letter from the Commercial Egg Producers Association to the Egg Farmers of Victoria, addressing concerns about a proposed change to quota levies for pullets. 8504.43ac CEPA annual Conference minutes May 1987 8504.43ad From the Rural Water Commission. The Coliban System OverviewSupplies water to approximately 2,075 rural properties for domestic, stock, and irrigation purposes. It Utilizes an extensive channel and piped system. Findings from the Coliban Rural Water Study: Increased maintenance is needed for the rural water supply system. Rising water demand is reducing the system's drought security. Additional revenue is required to maintain and improve drought security and operational efficiency. 8504.43ae Two pages of handwritten letter along with an objection to membership - contact BHS for detailsegg producer's information, correspondence, cepa, commercial egg producers' association

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Whalebone The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The bone of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as whalebone. Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone during the 17th, 18th, 19th and early 20th centuries was an important industry providing an important commodity. Whales from these times provided everything from lighting & machine oils to using the animal's bones for use in corsets, collar stays, buggy whips, and many other everyday items then in use.Whale bone Vertebrae with advanced stage of calcification as indicated by deep pitting. Off white to grey.None.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whale bones, whale skeleton, whales, whale bone, corsets, toys, whips, whaleling industry, maritime fishing, whalebone

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone during the 17th, 18th, 19th and early 20th centuries was an important industry providing an important commodity. Whales from these times provided everything from lighting & machine oils to using the animal's bones for use in corsets, collar stays, buggy whips, and many other everyday items then in use.Whale jaw bone one side, long & curved with advanced stage of calcification off white to grey.None.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whale bones, whale skeleton, whales, whale bone, corsets, toys, whips, whaleling industry, maritime fishing, whalebone

Prior to carrying out a detailed condition report of the cetacean skeletons, it is useful to have an understanding of the materials we are likely to encounter, in terms of structure and chemistry. This entry invites you to join in learning about the composition of whale bone and oil. Whale bone (Cetacean) bone is comprised of a composite structure of both an inorganic matrix of mainly hydroxylapatite (a calcium phosphate mineral), providing strength and rigidity, as well as an organic protein ‘scaffolding’ of mainly collagen, facilitating growth and repair (O’Connor 2008, CCI 2010). Collagen is also the structural protein component in cartilage between the whale vertebrae and attached to the fins of both the Killer Whale and the Dolphin. Relative proportions in the bone composition (affecting density), are linked with the feeding habits and mechanical stresses typically endured by bones of particular whale types. A Sperm Whale (Physeter macrocephalus Linnaeus, 1758) skeleton (toothed) thus has a higher mineral value (~67%) than a Fin Whale (Balaenoptera physalus Linnaeus, 1758) (baleen) (~60%) (Turner Walker 2012). The internal structure of bone can be divided into compact and cancellous bone. In whales, load-bearing structures such as mandibles and upper limb bones (e.g. humerus, sternum) are largely composed of compact bone (Turner Walker 2012). This consists of lamella concentrically deposited around the longitudinal axis and is permeated by fluid carrying channels (O’Connor 2008). Cancellous (spongy) bone, with a highly porous angular network of trabeculae, is less stiff and thus found in whale ribs and vertebrae (Turner Walker 2012). Whale oil Whales not only carry a thick layer of fat (blubber) in the soft tissue of their body for heat insulation and as a food store while they are alive, but also hold large oil (lipid) reserves in their porous bones. Following maceration of the whale skeleton after death to remove the soft tissue, the bones retain a high lipid content (Higgs et. al 2010). Particularly bones with a spongy (porous) structure have a high capacity to hold oil-rich marrow. Comparative data of various whale species suggests the skull, particularly the cranium and mandible bones are particularly oil rich. Along the vertebral column, the lipid content is reduced, particularly in the thoracic vertebrae (~10-25%), yet greatly increases from the lumbar to the caudal vertebrae (~40-55%). The chest area (scapula, sternum and ribs) show a mid-range lipid content (~15-30%), with vertically orientated ribs being more heavily soaked lower down (Turner Walker 2012, Higgs et. al 2010). Whale oil is largely composed of triglycerides (molecules of fatty acids attached to a glycerol molecule). In Arctic whales a higher proportion of unsaturated, versus saturated fatty acids make up the lipid. Unsaturated fatty acids (with double or triple carbon bonds causing chain kinks, preventing close packing (solidifying) of molecules), are more likely to be liquid (oil), versus solid (fat) at room temperature (Smith and March 2007). Objects Made From the Whaling Industry We all know that men set forth in sailing ships and risked their lives to harpoon whales on the open seas throughout the 1800s. And while Moby Dick and other tales have made whaling stories immortal, people today generally don't appreciate that the whalers were part of a well-organized industry. The ships that set out from ports in New England roamed as far as the Pacific in hunt of specific species of whales. Adventure may have been the draw for some whalers, but for the captains who owned whaling ships, and the investors which financed voyages, there was a considerable monetary payoff. The gigantic carcasses of whales were chopped and boiled down and turned into products such as the fine oil needed to lubricate increasing advanced machine tools. And beyond the oil derived from whales, even their bones, in an era before the invention of plastic, was used to make a wide variety of consumer goods. In short, whales were a valuable natural resource the same as wood, minerals, or petroleum we now pump from the ground. Oil From Whale’s Blubber Oil was the main product sought from whales, and it was used to lubricate machinery and to provide illumination by burning it in lamps. When a whale was killed, it was towed to the ship and its blubber, the thick insulating fat under its skin, would be peeled and cut from its carcass in a process known as “flensing.” The blubber was minced into chunks and boiled in large vats on board the whaling ship, producing oil. The oil taken from whale blubber was packaged in casks and transported back to the whaling ship’s home port (such as New Bedford, Massachusetts, the busiest American whaling port in the mid-1800s). From the ports it would be sold and transported across the country and would find its way into a huge variety of products. Whale oil, in addition to be used for lubrication and illumination, was also used to manufacture soaps, paint, and varnish. Whale oil was also utilized in some processes used to manufacture textiles and rope. Spermaceti, a Highly Regarded Oil A peculiar oil found in the head of the sperm whale, spermaceti, was highly prized. The oil was waxy, and was commonly used in making candles. In fact, candles made of spermaceti were considered the best in the world, producing a bright clear flame without an excess of smoke. Spermaceti was also used, distilled in liquid form, as an oil to fuel lamps. The main American whaling port, New Bedford, Massachusetts, was thus known as "The City That Lit the World." When John Adams was the ambassador to Great Britain before serving as president he recorded in his diary a conversation about spermaceti he had with the British Prime Minister William Pitt. Adams, keen to promote the New England whaling industry, was trying to convince the British to import spermaceti sold by American whalers, which the British could use to fuel street lamps. The British were not interested. In his diary, Adams wrote that he told Pitt, “the fat of the spermaceti whale gives the clearest and most beautiful flame of any substance that is known in nature, and we are surprised you prefer darkness, and consequent robberies, burglaries, and murders in your streets to receiving as a remittance our spermaceti oil.” Despite the failed sales pitch John Adams made in the late 1700s, the American whaling industry boomed in the early to mid-1800s. And spermaceti was a major component of that success. Spermaceti could be refined into a lubricant that was ideal for precision machinery. The machine tools that made the growth of industry possible in the United States were lubricated, and essentially made possible, by oil derived from spermaceti. Baleen, or "Whalebone" The bones and teeth of various species of whales were used in a number of products, many of them common implements in a 19th century household. Whales are said to have produced “the plastic of the 1800s.” The "bone" of the whale which was most commonly used wasn’t technically a bone, it was baleen, a hard material arrayed in large plates, like gigantic combs, in the mouths of some species of whales. The purpose of the baleen is to act as a sieve, catching tiny organisms in sea water, which the whale consumes as food. As baleen was tough yet flexible, it could be used in a number of practical applications. And it became commonly known as "whalebone." Perhaps the most common use of whalebone was in the manufacture of corsets, which fashionable ladies in the 1800s wore to compress their waistlines. One typical corset advertisement from the 1800s proudly proclaims, “Real Whalebone Only Used.” Whalebone was also used for collar stays, buggy whips, and toys. Its remarkable flexibility even caused it to be used as the springs in early typewriters. The comparison to plastic is apt. Think of common items which today might be made of plastic, and it's likely that similar items in the 1800s would have been made of whalebone. Baleen whales do not have teeth. But the teeth of other whales, such as the sperm whale, would be used as ivory in such products as chess pieces, piano keys, or the handles of walking sticks. Pieces of scrimshaw, or carved whale's teeth, would probably be the best remembered use of whale's teeth. However, the carved teeth were created to pass the time on whaling voyages and were never a mass production item. Their relative rarity, of course, is why genuine pieces of 19th century scrimshaw are considered to be valuable collectibles today. Reference: McNamara, Robert. "Objects Made From the Whaling Industry." ThoughtCo, Jul. 31, 2021, thoughtco.com/products-produced-from-whales-1774070.Whale bone during the 17th, 18th, 19th and early 20th centuries was an important industry providing an important commodity. Whales from these times provided everything from lighting & machine oils to using the animal's bones for use in corsets, collar stays, buggy whips, and many other everyday items then in use.Whale rib bone with advanced stage of calcification as indicated by brittleness. None.warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, whale bones, whale skeleton, whales, whale bone, corsets, toys, whips, whaleling industry, maritime fishing, whalebone