Object. Brass coloured medal with a suspension piece and suspension ring on the crest. Obverse: Bendigo Town Hall, Below picture, ''J. B. EDWARDS''. Reverse: Around edge, ''Bendigo Juvenile & Industrial Exhibition 1886'', Engraved in centre ''FIRST AWARD MISS ELY HANDMADE SHIRT''. The Bendigo Juvenile and Industrial Exhibition was held in 1886. It was opened by the Governor. The exhibition was organized to encourage young people to engage in useful activities. The Picture Gallery had over 700 entries and impetus for the establishment of the Bendigo Art Gallery.numismatics, medals - civil, first award medal

'Skin, Surfaces and Shadows' was created by Tommaso Durante in 2004 during his stay in Bundanon (gifted to the Australian people by Arthur & Yvonne Boyd - South East Australia) as international artist in residence and it was enriched during the artist’s stay in Broome (Western Australia) in 2005. On that occasion he collected the raw materials that were subsequently wrought to develop the actual bookwork.On the edge of artistic practice and philosophical inspiration, 'Skin, Surfaces and Shadows' pushes the boundaries of art, craft and design by combining digital technologies with traditional techniques and materials. Durante visually explores the surfaces of organic things (trees, surface textures, etc.) and the figurative dividing line of the shadow. The poet Wallace-Crabbe responds to these images in words. The poet and the artist flit in and out of shadows, skin and the surfaces of paper and life.(a) prints, artist's book (80 pages), ink; Somerset Book White paper (175gsm), digital images, printed in eight inkjet colour pigments, from digital files. Set in digital typefaces Utopia STD Display, Italic and Bold, Frutiger 57 Condensed, 67 Bold Condensed, and 56 Italic. Section sewn around 3 tapes. Full paper binding with blind blocking on front cover handmade head and tail bands. (b) CD of slide presentation to accompany bookwork on display Primary Insc: In black biro, signed and editioned by Tommaso Durante and Chris Wallace-Crabbe (last page '8/25 T DURANTE CWallace-Crabbe')prints, artist book, skin, surface, shadow, poetry, durante, wallace-crabbe

Demonstrates and yields information about the considerations made for Weekly Tickets during the late 1920's.Set of handmade or hand written sheets regarding weekly tickets in Ballarat - using ink and pencil .1 - Lined foolscap sheet dated 3-10-26, titled "Notes on Weekly tickets", regarding availability, point of sale, sections, availability, midday or lunch time usage, numbering, use of tokens, fare boxes, disadvantages, and possible layout sketches. .2 - ditto, pencil notes, about ticket revenues, overlapping sections, limit of times, holidays. See also Reg Item 8019 for a 1921 and 1928 documents. trams, tramways, tickets, esco, weekly tickets

These photographs appear to have been used for lantern slidesHandmade photograph album made from cardboard tied together with cord. Large photographs pasted in. "Lantern Slide," or "Slide," handwritten beside each photograph. Also see B10.0021. (1)6 female students working in the flower garden with a member of staff. (2) View of the Lily Ponds with the Principal's Residence in the background. (3) The Croquet lawn. (4) Side of the Principal's Residence looking towards the Pavilion in the background. (5) Path to the Principal's Residence with the roof of it in the background. (6) Blossom tree. Also see Bfemale students, flower gardens, staff, lily ponds, principal's residence, croquet lawn, pavilion, blossom trees, lantern slides

Used by ESCo to enable identification of depot employees when travelling on the trams. Date made and when used unknown. Has hammer marks on rear of badge. See item 9038 for another example.Demonstrates a employee's free pass for travelling on Ballarat's trams.Handmade metal badge from brass sheet about 52 in diameter with a slot (long oval shape) about 23 long x 5 deep through which a leather strap about 100 long x 10 wide with a steel buckle is fitted. Stamped in capital letters on the badge are "BALLARAT TRAMWAYS" on the outside, "EMPLOYEES DEPOT PASS", in the centre of the badge, with the word "Employees" in a semi-circle. Near the bottom of the badge is the number "12", the one formed using an "I". The letters have been filled with a white paint.tramways, trams, esco, depot, employees pass, badges

These handmade skittles in this set appear to have had a lot of use as the surfaces of the skittles are well worn. The skittles have a hole in the top, indicating that they were made on a wood lathe. The game of skittles is played indoors and outdoors. It is a traditional target game or sport and the forerunner of the sport of bowling. A standard skittle set has nine skittles and one or two balls. The skittles would be arranged in a diagonal square pattern and a ball would be bowled towards them, for a given distance away. The object is to knock down as many skittles as possible. These skittles are representative of the traditional games played by children and adults over the centuries.Set of four wooden skittles, cylindrical body tapering inwards to form a narrow keck with a knob on top. Knob has two flat surfaces. The bodies and knob tops of the skittles sow remnants of wood stain but the bodies' surfaces are worn. The tops have a scored line around their circumference. The bases are rounded, with the edges off the floor. The top and base of the skittles have a hole in the centre. flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, skittles, pins, game, children's game, traditional game, bowling, toy

The Fashion, Textiles & Design Collection includes a number of examples of household or domestic textiles dating from the Nineteenth and Twentieth centuries. Some had a purely functional role while others were essentially decorative. These textiles were mass-produced or handmade, and sometimes including elements of both. Many were constructed of, or include elements of, lacework, tatting, embroidery or crochet. Donated throughout the Society’s history by members or residents of Kew, the provenance of many items is now unknown, however they remain in the Collection to illustrate the social history of the Australian home.White crocheted doily incorporating the motto of the Australian Natives Association and a pictorial representation of an emblem that would become the Commonwealth Coat of Arms.doilies - patriotic, doilies - symbolic, soft furnishings, australian natives association, advance australia

This wooden spokeshave was used in the making of ship model Sovereign of the Seas. It would have been used to shave and shape wood in a similar way that a plane would be used. Its name comes from its use for shaping curved objects such as wheel spokes, oars, paddles, chair legs and bows. It is part of a collection of objects used by Jim Williams, maker of fine ship models from about 1930-1955. Most of the components for the models, as well as many of the tools, were handmade by Jim Williams. Jim’s family has donated the ship model “Sovereign of the Seas” and many tools, accessories and documents used in the making of this and other ship models have been donated to Flagstaff Hill Maritime Village. Ship model of HMS Sovereign of the Seas, scale model of 17th Century English war ship, was handmade and carved from plans, enclosed in airtight glass case. All components of that model, including even the smallest pulleys, were hand crafted using tools designed and made by Jim. Outstanding details include functional rigging and moving cannons. Please see our record 3732 of the mode Sovereign of the Seas for further details of the ship and the maker.This spokeshave is connected with the hobby and skill of ship model making that has been crafted as a leisure activity for many generations. The hobby is often chosen by serving and retired mariners who appreciate the connection with maritime history. This spokeshave was used by local Warrnambool man, Jim Williams, who was employed at Cramond and Dickson clothing store, and then at Fletcher Jones menswear for 27 years. It was used in making components for the model of the historic ship, the Sovereign of the Seas. The Sovereign of the Seas was a historic 17th century English war ship with important maritime heritage. Spokeshave; two-handled, medium coloured wood tool, slightly curved centre. The front has two blade screws protruding from it, the back has a flat ‘sole’ with removable brass blade attached by screws. This spokeshave is part of a collection of tools and accessories once used by Jim Williams, maker of a series of ship models 1930-1955 including “HMS Sovereign of the Seas”. (Illegible text is pressed into the top side of the spoke shave.)flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jim williams, james bernard williams, ship model hobby, ship model tools, ship model making equipment, ship model making accessories, spokeshave, spoke shave, sovereign of the sea, ship model, hobby, ship model tool, english war ship

This fine Reeves paint brush was used in the making of components for the ship model Sovereign of the Seas. It is part of a collection of objects used by Jim Williams, maker of fine ship models from about 1930-1955. Most of the components for the models, as well as many of the tools, were handmade by Jim Williams. Jim’s family has donated the ship model “Sovereign of the Seas” and many tools, accessories and documents used in the making of this and other ship models have been donated to Flagstaff Hill Maritime Village. REEVES - Reeves & Sons Ltd, makers of fine art supplies, operated under this name in London, England, 1891-1976. The company was founded as Thomas Reeves and Son in 1784. SOVEREIGN OF THE SEAS - Ship model of HMS Sovereign of the Seas, scale model of 17th Century English war ship, was handmade and carved from plans, enclosed in airtight glass case. All components of that model, including even the smallest pulleys, were hand crafted using tools designed and made by Jim. Outstanding details include functional rigging and moving cannons. Please see our record 3732 of the mode Sovereign of the Seas for further details of the ship and the maker. This brush is connected with the hobby and skill of ship model making that has been crafted as a leisure activity for many generations. The hobby is often chosen by serving and retired mariners who appreciate the connection with maritime history. This brush was used by local Warrnambool man, Jim Williams, who was employed at Cramond and Dickson clothing store, and then at Fletcher Jones menswear for 27 years. It was used in making components for the model of the historic ship, the Sovereign of the Seas. The Sovereign of the Seas was a historic 17th century English war ship with important maritime heritage. Paint brush, narrow ‘0’ size, Reeves brand, no. 157, made in England. Inscription printed in silver paint. This paint brush is part of a collection of tools and accessories once used by Jim Williams, maker of a series of ship models 1930-1955 including “HMS Sovereign of the Seas”. Printed on handle -“MADE IN / ENGLAND” , “REEVES”, “157”, “0”flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jim williams, james bernard williams, ship model hobby, ship model tools, ship model making equipment, ship model making accessories, paint brush, reeves of england, sovereign of the sea, ship model, hobby, ship model tool, brush

Made by a German prisoner of war at Camp 13Hexagon shaped paper mache bowl. White outside, dark green inside, painted on the outside are navy blue and orange flowers, navy and green stemsbowl, paper mache, anderson h, camp 13, murchison, tatura, camps, handmade, papier, mache, helga anderson

There is evidence of the game of marbles in the ruins of Pompeii and the tombs of Egyptians as well as early American Indians. The earliest marbles were simply rounded stones which had been polished but this was refined to handmade versions made of clay, stone and glass. It was in the late 19th century that mass production began and it gives testament to the popularity of the game that the Dyke factory of Ohio could produce 1,000,000 marbles a day. It was around 1915 that the mass production of glass marbles began. The game reached the height of popularity in the 1920-1930’s. Many were prized for their designs.The game of marbles was one of the most common games played universally, from childhood hence has a strong link with people of all ages and cultures. Five marbles in glass jar. All are various sizes ranging from large yellow streaked with red and blue, black striped with white, marbled tan, clear with multi coloured streaks and bright blue. Shapes are roughly spherical. Materials range from glass to glazed and stone. Three have pontil marks either on end.The lid of the jar has Nestle vacuumed sealed for extra protection. Use special key to open. Old sticker on base with 173 written in black lead pencil. toys, marbles, children's games, warrnambool, handmade marbles, glass marbles, clay marbles, agate marbles

The Wied family were settled in Palestine upon the beginning of WWII. Being of German nationality, they were considered a threat to security by Allied forces & were interned in temporary camps, before being shipped to Australia. In Australia they were interned in Camp 3, Tatura, a family camp for enemy nationals. Many of the internees came with few possessions. This item is just one of the handmade domestic items fashioned in the camp from largely scrap materials to give some home comforts in the initially barren surroundings of the camps, particularly to those interned with families and young children. Butterfly shaped brooch made from Paua shell. Fixed to a brass safety pin. world war ii, camp 3, palestine, tatura, jewellery, internment camps

A gift to Ron Cochrane, a member of the Navy commissioning team of HMAS Voyager. The box was handmade by two brothers CLARK/E (?) from Benalla. The signatures done in ball point pen belonged to the crew attached to the portside Forward Mess. They presented the box to Cochrane who was responsible for the Mess as a token of appreciation. Ron Cochrane R46195 served as a Leading Hand with the Royal Australian Navy between 1951 and 1957 and served on numerous ships including HMAS Voyager between 6/2 - 6/10/1957. He was born on 20/3/1933 at Ballarat East. Daring class destroyer, Voyager, was the first ship of her class to enter Australian service, and the first all-welded ship to be built in Australia. During the night of 10 February 1964, Voyager and the aircraft carrier HMAS Melbourne collided off Jervis Bay, when the destroyer passed in front of the carrier during post-refit sea trials. Voyager was cut in two by the collision, sinking with the loss of 82 of the 314 people aboard. This was the largest loss of Australian military personnel in peacetime, and the subsequent investigations resulted in the holding of two Royal Commissions—the only time in Australian history this has occurred.Cream painted wooden box with metal hinges. There is an inscription and ship on the lid and autographs written in ink on the underside of the lid. On top of lid - HMAS Voyager 1957 On bottom: Bills, bills and more bills !!!!!! Dotted line R Cochranehmas, voyager

The loom was made by John Charles Mann in the late 1920s-early 1930s for Lilian Joyce Mann. Mr Mann enjoyed woodwork. He died in 1945. Ms Mann was very interested in crafts and owned a shop in Jacob Street which sold handmade soft toys and items woven from the loom, for example table mats. The shop was later bought out by Henry Jacobs and later became Myer. Ms Mann died on the 17th July 2007. Ms Mann was a founding and life member of the Geelong Handweavers and Spinners Guild.W7219 (Mann loom) Lilian Joyce Mann's loom in house Lilian Joyce Mann's loom in houseOxy & Electric Welding Motor & Gehandicrafts, geelong handweavers and spinners guild inc., weaving looms, weaving, mann, mr john charles mann, ms lilian joyce, geelong, victoria

Dress worn by Mary (Molly) Sprunt on marriage to John (Jack) Leith on 12 March 1938 at St Andrews Presbyterian Church, Rushworth. Veil was handmade by mother Madge Brydon in 1912 for her wedding. Dress and veil donated by Molly's daughter. Dress also worn by sister - Lyndsay (Lyn) Sprunt for her marriage to George Hendrie on 10 November 1945 at St John's Church Elsternwick. Gown made by Molly and Lyn's aunt Edith Brydon. Veil (NA3495) worn was made by mother Madge Brydon. Donated by Molly's daughter.Cream damask 1938 satin dress. Long sleeves, cross over neckline to a diamond front panel. Skirt cut on the cross, with front pleat. Back skirt has long train. Self-covered buttons at centre back.|See also NA3495 - Veil. Also worn for 1945 wedding with veil. NA3496 - Shawl.costume, female ceremonial

Thomas Burch Ford (1818-1892) began producing blotting paper and filter papers for personal and industrial use, after taking over Slade's Original Handmade Blotting Company in 1881. John Letts produced the first commercially available diary in 1812. In 1835 the business was taken over by his son Thomas and grandson Charles John joined the company in 1870. In 1881, after a brief hiatus, Charles restarted the business as Charles Letts and Company, the name it retains today. The blotters were included in the diaries as a form of advertising both for Letts and for TB Ford.A Collection of Ford's Blotting Paper: Orange(1), blue(1), green(2), light green(1) yellow(1), light pink(1) and pink(1) coloured blotting paper with blue print. Advertising * Charles Letts's Diary Blotter. An Alliance of Quality Comfort and Economy. Fords Gold medal absorbent Blotting. Ford 428 Mill Made in 22 Colours and white. The very best obtainable Ford's Gold Medal Absorbent Blotting. Box 625T.B. Ford, Ltd. Snakeley Mill, Loudwater, High Wycombe, London Showroom 72 Piccadilly, W.1. Ch.L. - 2- F8064ephemera, mementoes, blotting paper

The items in this collection of Ecclesiastical Linen were used by St. Andrews Anglican Church on the corner of the Esplanade and 14 Drummond St, Dennington, Victoria. The first Anglican service was conducted on December 22nd, 1907. The church was decommissioned in January 2003. The items donated include Maniples, Chalice Covers, a Goblet Cover, Altar Cloths, Matts, Priest's scarf, armband and sashes, and a bag that is a cover for the Baptismal Towel. HISTORY OF ST ANDREWS, DENNINGTON The land on which St Andrews Church was built in Dennington was surveyed in the 1840s and reserved for church purposes in 1855. In 1889 the Farnham Dairy factory relocated to Dennington and the town began to grow as involvement in the dairy industry increased in the area. In 1896 plans for a church hall on the reserved land were considered and on 22nd December 1907, the first Anglican Service was conducted in Dennington, with 60 people attending. In August 1909 the first building was opened with a midweek evening service conducted by the Rev. J.A. Coe. The Sunday School was opened the following year. In that same year, Nestle took over the Farnham dairy plant. On December 20th, 1914, a new church was opened in memory of Andrew Peacock, who passed away in 1912. The funds had been raised by the community and 150 attended the morning service. The building was described as a simple edifice with a plain exterior and high, wide pointed windows, and a comfortable porch entrance, all of which gave a pleasing impression of light and space. In 1935 the average attendance for morning services was just over 22 people. In 1936 extensive repairs and replacements were carried out. In 1947 the first recorded Pastoral Festival took place and in the same year, a Ladies Guild was formed. In 1954 water services were connected to the church building. Many items of furniture, furnishings and books were donated over the life of the church, including handworked linen items. Further items were added due to the work of the Ladies Guild, as well as donations in memory of church and community members.These items of Ecclesiastical Linen are significant as examples of handworked embroidery and drawn-thread work from the early 20th century. They are also examples of a collection of items used for church services during this period. The Ecclesiastical Linen is also significant for its association with the early development of the local township of Dennington and the importance of setting aside land in the 1850s for the purpose of religious worship. The Ecclesiastical Linen is also significant for its connection to St Andrews Anglican Church, Dennington. The church was funded and attended by the local community in the early 1900s and is now listed on the Victorian Heritage Database (VHD 118083) as a building of historical and social significance. Set of Ecclesiastical Linen. The items were once used in St. Andrew's Anglican Church, Dennington, Victoria, between the years 1907 and 2003. All of the handmade items are in white fabric. Some also have embroidered emblems, tassels and drawn-thread work. White embroidery thread has been used for most of the decorated items, with the following exceptions, which have been embroidered with coloured thread; the communion linen, the Priest's scarf, armband and sash, the altar cloths, mats and a cover for the baptismal towel. Two items have hand written inscriptions.(See individual objects for details)flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, st andrews anglican church dennington, dennington church, warrnambool church 1907, ecclesiastical linen, linen for religious service, communion linen, priest's sash, baptismal towel, maniple, eucharist, emblem of rope and cross, embroidered religious cloths, embroidered celtic cross, drawn thread, chalice covers, handmade linen, embroidered linen, stylised cross, the english church, ladies guild dennington, nestle, farnham dairy, andrew peacock, victorian heritage register vhr 118083, hand worked linen, handworked embroidery, j.a. coe

Handmade brown wooden honour board, retangular with octagon-style corners, white painted names of those who served and small Australian and UK flags. Lists the following names: W. Gale, B. Withers, A. Charles, J.B. Dixon, H. Eggleston, M. Harrison *, R. Thompson, W.J. Tanner, W. G. Rail, Wm. Gale, A. W. Ellis, A.P. Smith*, N. Clarke*, T. Fraser*, J. A.McLean, H. Withers*, R. Daglish, A. E. Ellis*, R. B. Dixon, C. Withers, J. Thompson*, J. ClarkeAbove the names listed reads: 19 LILLIPUT 17 / Methodist Church / Honor Roll / Attendants of this Church who / fought for the Empire in the Great Warhonour boards, wwi, the great war, first world war, lilliput

Very old hand-made wooden stool 47 centimetres long, 14 centimeters wide and 19 centimetres high. The top is one and a half centimeters thick. The two sides are made from one centimetres thick wood and are 47 centimetres long tapering to 36 centimeters and seven centimeters wide. The two ends are 17 centimetres long, 14 centimetres wide and two centimetres thick, it checked out to fit into the sides of the stool, there are two centimetre notches cut into the bottom which create the impression of legs. The nails that hold it together are handmade.wooden stool, miner's item

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from an unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, Tall slim gallon style. Applied double collar lip; upper is straight, lower is flared. Lip has bumps around the top. Neck has slight taper towards shoulder, which has a shoulder seam from the mould. Body tapers inwards towards base. Push up base has a pontil mark. Base is embossed.Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This spiky, pointy metal flower holder, often called a flower frog or kenzan, was made around the late 19th to the early 20th centuries by Stayput Products of Melbourne, Australia. The flat metal base has been made in layers with the head of the spikes between the layers. It is likely to be handmade. Heavy flower holders made of non-corrosive metals are designed to sit in the base of a vase, dish, bowl or other suitable holder so that cut flower stems can be pushed into the spikes and held firmly in the arrangement. Flower frogs can be made of glass, ceramics or, more recently, synthetic materials.The flower holder is an example of Victorian era domestic decoration aids that have carried through to the 21st century.Flower holder, rectangular block made from layers of metal, with spikes embedded into the metal. The block is heavy, likely to be lead, and the spikes are strong brass pints arranged evenly in rows. There are remnants of florist's putty between some spikes. An inscription within concentric oval rings is moulded in the flat base. Made by Stayput Products, Melbourne, Australia.Stamped into the metal: "STAYPUT / PRODUCTS / MELB. AUST."flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, flower frog, flower arrangements, flower holder, pin-holder, stayput, flower aid, ikebana flower arrangement, kenzan, moribana style, flower support, melbourne manufacturer, spiky pin frog, metal flower holder, stayput products, flower block, flower arranger, vintage, antique, late 19th to early 20th centuries, vase accessory, decorative item, floral arrangement support, florist accessory, floral art, needle aids, victorian era

This beaded dress collar is of a style from the mid 20th century - possibly even as early as the 1930's. It is designed to be easily removed and worn with different outfits - e.g. a dress, knitted top or blouse. Articles from Australian newspapers (particularly the Women's fashion pages) in the decades from the 1930's through to the 1950's often mentioned society ladies wearing "beaded collars" when describing their fashions and in the 1950's "beaded collars" were being made and imported from Japan however this particular collar appears to have been handmade. Unfortunately the maker of this collar is unknown.This item is an example of how women in the mid 20th century used their needlework skills to personalise and embellish an item of clothing (a collar) designed in a practical way to be able to be used with different items of clothing. Lady's beaded collar with a decorative floral design of flowers made with blue beads, outlined with bronze beads on a white beaded background. Bronze beads have also been used to "draw" leaf shapes and tendrils and outline a border all around the collar. A hook and eye are attached to a fine cotton bias band at the top of the collar and the beading is sewn onto a fine net lining.flagstaff hill maritime museum and village, warrnambool, great ocean road, fashion, beaded collar, beading, decorative fashion, collar, lady's fashion

Jacket - Khaki colour wool serge fabric. Battle Dress style with belt at waist. Brown metal buttons with shank and split pin. Buttons have raised emblem - map of Australa and Crown and lettering "AUSTRALIAN MILITARY FORCES". Collar, shoulder epaulettes, four front pockets with button down flaps, sleeve cuffs. Unit colour patch insignia - handmade purple over red - 38th Battalion. Collar badges - metal - Rising Sun Badge. Shoulder epaulettes - metal "AUSTRALIA" badge. Manufacturers white cotton fabric label - inside right pocket.Manufacturers information on two labels. Black ink print - "REGIMENTAL NO./NAME" Red ink print - "V162/ MADE IN/ AUSTRALIA/ 1942/ size". Handwritten black ink pen "XXX/ 20X" uniform, army, battle dress, ww2

The ring was made for the donor by her father in Camp 3, Tatura. The Wied family were settled in Palestine upon the beginning of WWII. Being of German nationality, they were considered a threat to security by Allied forces & were interned in temporary camps, before being shipped to Australia. In Australia they were interned in Camp 3, Tatura, a family camp for enemy nationals. Many of the internees came with few possessions. This item is just one of the handmade domestic items fashioned in the camp from largely scrap materials to give some home comforts in the initially barren surroundings of the camps, particularly to those interned with families and young children. Small brown metal ring, with a small heart soldered to the ring. camp 3, tatura, world war ii, internment camps

Norway, around 1840, was the first country to produce and use glass fishing floats. Many of them can still be found in local boathouses. Christopher Faye, a Norwegian merchant from Bergen, is credited with their invention. The earliest floats, including most Japanese glass fishing floats, were handmade by a glassblower. Recycled glass, especially old sake bottles in Japan, was typically used and air bubbles/imperfections in the glass are a result of the rapid recycling process. Glass floats have since been replaced by aluminum, plastic, or Styrofoam. Today most of the glass floats remaining in the ocean are stuck in a circular pattern of ocean currents in the North Pacific.By the 1940s, glass had replaced wood or cork throughout much of Europe, Russia, North America, and Japan. Japan started using the glass floats as early as 1910. Now they are still highly sought after as decoration.A glass float with intact knotted rope net attachedfishing, floats, glass floats

This building at 21 Brougham Street, Eltham, known previously as The Light Factory, now Second Home restaurant, was designed by Alistair Knox and is one of the few commercial buildings he designed. It was a combined residential (rear) and factory (front) development. The Light Factory Gallery; OnlyMelbourne "The Light Factory Gallery was built in 1973 and is a classic example of his design. Exposed soaring six metre Oregon beams, handmade bricks, clerestory windows flood the building with natural daylight giving treetop views of the eucalypts that he designed the building around." The Light Factory Gallery. (2024, March 31). Retrieved from https://www.onlymelbourne.com.au/the-light-factory-galleryjim connor collection, brougham steet, eltham, alistair knox design, industries, restaurants, second home, the light factory gallery

Owned at the time by architect, Ian Jelbart, the property had been in the Jelbart family since the 1940s; a 5560sqm secluded hilltop parcel in Eltham. When the manor house and its barn were built, Eltham was a rural community; Jelbart’s grandfather Ronald was a businessman whose poultry farm formed part of the family’s original 100ha holding. A portion would later be subdivided into residential lots to make way for new homes that would form the basis of the Woodridge Estate in the early 1970s. The Barn was developed as a residence by Ian Jelbart in the late 1960;'s. Handmade mud bricks were used in its construction. This is a view from The Barn looking towards the Manor HouseDigital file only; created from scan undertaken by EDHSarthur street, eltham, houses, jelbart barn, jelbart property, kinloch gardens, verandah, mud bricks, enclosure

This was the uniform of junior girls from the 1960s until the new campus for secondary students began at Truganina in 1978. Shortly after the opening of the secondary campus a new dress, green in colour, was adopted for all girls. This summer uniform dress, donated by a past parent, was handmade and worn by a prep student in 1977. It is a rare example of the school dress from this period. Together with a dress pattern and a sample of the same fabric donated by another past parent, these items have historic significance and interpretive capacity. Current students enjoy learning about how different the provision of school uniforms was not so long ago, as Westbourne uniforms can now be ordered online.Small belted dress in blue checked pattern with white collar and sleeve cuffs and three white buttons down the front.

This apron is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes - adding her own handmade embroidered or crocheted decorative trim. In March 1915 Eliza travelled to San Francisco to visit her son, James. She went by train to Melbourne ("a pleasant journey on the up express') and the next day caught the express train to Sydney. She noted in her letters home that a " number of young men were going to Sydney to enlist but they had to stop in the corridors most of the way as there was no room for them to sit down". She spent the night on the train and arrived in Sydney the next morning and on the following day she boarded the R.M.S. "Moana" (a steamer which took about twenty-four days to reach San Francisco). She returned from Vancouver about five months later on board the "Manuka". It is very likely Eliza took this "Travelling Apron" with her on her travels. Eliza was travelling by herself and had no one to help her with her dress or her hair. "Travelling Aprons" (also known as Toilet Aprons or Tourist Aprons) were designed with different sized pockets for holding a lady's toiletries - hairbrush, hair pins, comb and sometimes even soap and a powder puff. This allowed the owner, when travelling and getting dressed in small places such as an overnight train compartment or a ship's cabin, to have all her requirements at hand without needing to search for them or have them roll onto the floor. Some of the pockets are finished with buttoned flaps to keep the items in place and when not in use, the apron could be hung up or rolled up and put away. Articles about the "Traveller's Apron" appeared in numerous Women's columns in Australian newspapers in the early 20th century - often with instructions and sometimes a pattern. In the "Age" on Sat 5th October 1907 in a column titled "Feminine Facts and Fancies" the author wrote "No man can appreciate the difficulties of dressing in a "wobbly" train or trying to do one's hair while a ship is weathering a storm". A year earlier (Saturday 24th March 1906) in the same column, the author wrote "... you have to spend nights in a train... forever struggling to dress yourself in a wretched little lavatory. You know how your hairpins and combs jump all over the place ... a train is always at its liveliest when you're trying to do your hair. My travelling apron saved me many a rage."This item is an example of the needlework skills of women in the early 20th century - combining machine stitching with hand embroidery to personalise and embellish a practical domestic object. It is also an excellent (and rare) example of an early 20th century innovation that helped solve the difficulties of privacy and convenience that many women experienced at a time when travel was becoming more accessible to them. A half apron, made of ivory linen with two waist ties and seven pockets. Along the top are two smaller pockets with triangular, buttoned flaps labelled "Hairpins" and "Nailbrush" and one larger unlabelled pocket. Underneath are two larger pockets labelled "Brush & Comb" and "Work" and two unlabelled narrow pockets. The seams are machine stitched and the pockets are outlined with hand embroidered feather stitch. The labels on the pockets are embroidered in stem stitch."Hairpins" / "Nailbrush" / "Brush and Comb" / "Work"flagstaff hill maritime museum and village, nhill, eliza towns, apron, travelling apron, tourist apron, textiles, toilet apron, sewing, embroidery, travel, warrnambool, great ocean road, trains, ships, moana, manuka, feather stitch, stem stitch, fashion, handmade, clothing, charles towns, needlework

This ink bottle is ‘boat’ shaped, which was a common design from the mid-1840s. It was crudely made; maybe it was rejected as a practice bottle or perhaps heat or pressure has distorted it. The bottle was recovered from the wreck of the Inverlochy and is part of the John Chance collection. Ink in the 1700s ink could be purchased in powdered or block form from apothecary shops, to be mixed with water as needed. Then in the mid-1800s chemists began selling ink in liquid form, in small, inexpensive and often attractive bottles. The small glass ink bottles were handmade, blown into a cup shaped mould, and sharply broken off from the blow-pipe at the neck, referred to as the English-made ‘burst-off’ finish. The neck was then filed, filled with liquid ink and sealed with a cork or wax. It was a quick, affordable container and made pen and ink writing available to the public. The name ‘penny ink’ bottles was a common title due to their low cost. INVERLOCHY 1895-1902 - The Inverlochy was a steel sailing barque built in Scotland in 1895 for international trade. In 1902 the Inverlochy left Liverpool under the command of Captain E.R. Kendrick. There were 21 officers and crew and the captain’s wife Mrs Kendrick, on board, bound for Australia with cargo that included tools, chemicals, liquor (beer, whisky, stout, rum, and brandy), steel, iron, wire netting, hoop iron, tinplate and pig iron), and steel wire for the Melbourne Tramway Company, tiles, soap, soft goods and earthenware. On December 18 almost at their destination, the Inverlochy ran aground on Ingoldsby Reef at Point Addis, near Anglesea. The crew and passengers left the ship via lifeboat and landed at Thompson’s Creek, then walked about 20 kilometres to Barwon Heads. Salvagers were interested in the 10 miles of cable in the hold. Mrs Kendrick’s ‘high grade’ bicycle was amongst the items salvaged but she lost her jewellery and two pianos. By February 1903 the ship had broken up and objects such as bottles and casks of liquor were washed ashore. Bad weather shook the wreck in June 1903, causing the ship’s spars and figurehead to be washed ashore. This boat shaped handmade ink bottle is historically significant for its association with communications and record keeping in the mid-to-late 19th century. The bottle is socially significant as an example of making a useful product affordable to every day people. This handmade glass ink bottle is significant for its connection with the John Chance Collection, which is historically significant as an example of artefacts from wrecks that had been lost in the coastal waters of Victoria from thirty to over one hundred years before John Chance and others discovered them. These artefacts are a sample of goods carried as cargo or personal possessions, and of ship hardware of that era. The ink bottle is significant through its connection with the barque, Inverlochy, The Inverlochy is significant for its cargo, which is a snapshot of the array of goods imported into Australia at the turn of the 19th century, including cable for the Melbourne Tramway Company. The Inverlochy is historically significant and is registered on the Victorian Heritage Database, VHR S338. The wreck of the Inverlochy is important as an accessible dive site that shows the remains of a large international trading vessel and its contents. It is valuable for an insight into Victorian era of shipping and maritime history.Ink bottle, thick clear glass, rectangular base with small round mouth, long sides have have a U shaped groove along the shoulders (used for resting pen handles). The outside surface has a white clay-type reside over it. Bottle is very bent and distorted. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, inverlochy, scotland, captain e.r. kendrick, melbourne tramway company, tramway cable, ingoldsby reef, point addis, anglesea, thompson’s creek, barwon heads, boat ink bottle, cottage ink, penny ink, glass ink bottle, pen rest, writing accessory, victorian, antique, ink well, sheer lip, distorted body, handmade, mould blown, statoionery