This reproduction photograph was donated at a major reunion in 2008, organised by students of the school from the 1950s. It pictures Mabel Molland and a young student at Monomeith, home to the school since 1956. Monomeith is a Victorian Heritage Register listed (VHR number H0452), italianate styled brick villa, built in 1887 for one of Williamstown’s most important identities, James Styles. Styles’ distinguished career in public life included membership of the Williamstown Council, a stint in state parliament as the Member for Williamstown (1894-1900) and, in 1901, election to the first commonwealth parliament as a senator. During the 1890s he was also a commissioner of both the Melbourne Harbour Trust and the Melbourne and Metropolitan Board of Works and one of the trustees of the Williamstown Grammar School. The property comprises the residence designed by W Bennett Hall and built by James Styles in 1887 and the former migrant hostel buildings (now administration and classrooms), erected around 1951 by the then owner the Melbourne Harbour Trust, and intended to house migrant workers during the dredging of Port Phillip Bay. By the 1950s, the School had outgrown its home at Holy Trinity Hall and Mabel Molland reached out to Mr. Keith White, president of the Parent's Association and well-respected member of Williamstown Council for assistance. In 1956, following lengthy negotiations led by Mr. White, Monomeith was leased from the Melbourne Harbour Trust under a seven-year lease, which eventuated as a twenty-one year lease, followed by purchase of the property in 1972. Since then this historic building has come to be a much-loved symbol of the history of Westbourne Grammar School. This is a rare image of Mabel Molland at Monomeith, taken in the year prior to her retirement having taken over the school in 1914 and then set it on a path for the future as an incorporated company in the hands of a school council, with Mr Keith White as president, in 1956. Black and white reproduction photograph of a a residence (Monomeith) with steps in the middle ground, leading up to a verandah with ornate ironwork. Mabel Molland stands on the steps and a young student can be seen on the verandah.

This catalogue was produced by the South Australian wool auctioning company Elders, Smith & Co. Ltd. It accompanied their celebration of a century of wool sales in 1978. The first wool auction in South Australia took place at Elders a century earlier, on the 15th of October 1878. It was covered in detail by The South Australian Register. At the sale, 1976 bales of wool were offered in what was the beginning of the wool storage and brokerage system in South Australia. Elders, Smith & Co. was established in 1839 by Alexander Lang Elder. Born in 1815 in Scotland, he moved to Australia at age 24 and set up Elders in Port Adelaide. Interestingly, the company’s original site is now the South Australian Maritime Museum. Elders’ business partner was Robert Barr Smith. Also born in Scotland, he moved to Australia in 1854 at the age of 30. Smith was an important part of the Company’s first wool sale. Smith made statements at the auction for South Australia to have a proper wool industry; with a purpose-built wool store, auction house and for the state to be able to supply its own products. This was met with a “Hear, hear” from the crowd at the auction. This statement is reflected upon within the catalogue. The catalogue itself also contains images of the company’s first wool auction, an outside image of Elder’s Wool Warehouse in Port Adelaide as well as an image of the Show Floor inside of this Port Adelaide warehouse. The catalogue also contains a quote from Elders’ Wool Manager for Victoria and Riverina, Murray Jewster. He discusses how the company is proud of its history and looking forward to its future in assisting both wool buyers and sellers. The quote also highlights Elders shift from being an Adelaide focused business, growing to span the width of Australia. 4 page booklet. Yellow paper with black and red print.south australian wool auctioning, elders smith & co. ltd., south australian wool producing, alexander lang elder, robert barr smith

Ebenezer Presbyterian Church is located in Armstrong Street South, Ballarat. The earliest church on the site was wooden church was and built in 1857 for the miners Gold Rush. In 1862 the wooden building was replaced by the bluestone church still in use today. The bluestone church was designed by architect Henry Richards Caselli in Lombardic Romanesque style. It features tall windows with paired round headed lights, buttresses and huge brackets. The porch and gallery were added in the 1880s to cater for an increase in the size of the congregation and are the only additions to the church. The 1880s porch features bracketted gables, finial, piers, string course and triple windows. The Ebenezer Church is important architecturally for its interior as well as its exterior, as it has a Classical Revival design that is both distinctive and unusual in Australia. The Ebenezer Presbyterian Church Hall built to the right of the church was constructed in 1892 and is made of locally produced red brick, which was more fashionable at the time. It too has been built in Lombardic Romanesque style in sympathy with the church building and features tall arched windows. The double-storey presbytery, built on the left of the church dates around the 1880s and is also constructed of red brick. Built in Victorian Classical Freestyle, it has elegant quoining on its corners, large windows upstairs, and prominent bay windows on the ground floor. The Armstrong Street facade is sheltered from the sun by a verandah and balcony featuring fine cast iron columns and lacework. The whole complex is surrounded by its 1880s cast iron paling fence. Henry Richards Caselli is perhaps best known in Ballarat for the large number of churches in Victoria that he designed, with two Lombardic Romanesque examples in Ballarat, the Ebenezer Presbyterian church, Armstrong Street South between 1862 and 1863 and the Lutheran Church in Doveton Street in 1876. This photograph was taken during the Covid19 pandemic and the associated shutdowns.Colour photographs of Ebenezer St John's Presbyterian Church.ebenezer st john's presbyterian church, ebenezer, church, ballarat, henry richards caselli

10 minute sound and colour, which has faded to red. Begins with an unseen business man asking his secretary to ring his wife to tell her he will be late and is going to visit one of his other families. We see him driving his car, which is full of smoke from his pipe, whilst the narrator explains what Legacy does. The Legatee sheds his coat and trilby hat to play cricket with the fatherless son before having tea and cake with the widow whilst her story and that of her two children is told - details of the Legacy assistance are given. The film then moves to Legacy House where exercise classes are taking place and the smoking pipe makes a reappearance. Information about Legacy's work for the health and wellbeing of Junior Legatees is given, as well as details of the Mother's Club. The film shows the many Legacy committees at work before moving on to holidays organised for Junior Legatees at a beach side cottage - there is no indication of which city is featured at this stage but the beach could be Bondi. Widows are shown meeting at Legacy House, and then we see more elderly widows at Lady Gowrie House. Kyle Williams House for convalescent children is featured and is located near Sydney, which would indicate that the film is about Sydney Legacy. Archbold House, a hostel for girls, and Glen Mervyn House for boys are also featured, as is Cull House for boys undertaking apprenticeships. The film notes that there were 88,000 widows and children in Legacy's care, and the pipe smoking Legatee is seen driving the fatherless boy to tennis practice before the film concludes by saying that Legacy is contributing to the future of the nation. This film has been digitised to preserve its content. Melbourne Legacy gratefully acknowledges the support of the Victorian Government and Public Record Office Victoria for making this possible.A visual record of life in Sydney after the war and the huge number of children to have lost their father in WWII. The commitment of Legacy to giving them a better childhood and the amount of work done by Legatees is impressive.Khaki coloured film cannister with yellowing label.Handwritten 'John Gray Prods' and 'His other family - A Legacy' / '16mm Comp E/Color Print'sydney, residences, junior legatee

The Beebe name was well-known in Bendigo in the last quarter of the 19th and the early part of the 20th centuries. From 1875, William Beebe senior, monumental mason, occupied a site in the centre on the city, in Mitchell Street opposite King Street. Death was more part of life in those days, and the Beebes were there to provide the burial monuments. Later, he took his sons into the business, which grew as Beebe and Son. Many examples of their work can be found in the local cemeteries. William Beebe senior (1830-1891) was born in Rutland, the smallest English county in 1830, to stonemason Chamberlain Beebe and Susannah Clements. William emigrated to Victoria in 1854 and after engaging on unknown works in Port Fairy, Dunkeld, and Melbourne arrived in Bendigo. His obituary records that he commenced work here on the site of the Bank of Australasia (opposite the Shamrock Hotel), which would have been no later than 1856. He took up a 13 acre selection on the site of Rocky Vale Villa in 1864 and continued to select or purchase further parcels of adjoining land until he owned some 150 acres, much of it unfit for cultivation. He was a keen gardener and had a garden and orchard around the house. William took over 20 years to build the two-story sandstone and granite house "Rocky Vale Villa". The house was constructed from sandstone sourced "from an adjacent ridge of rocks" (Bendigo Advertiser 28/9/1891). Granite from Harcourt was used for lintels and quoins. Not long before he died, William was still adding to the house. In the Codicil to his will, he states that "I have just built and completed two additional rooms to my Dwelling house situe at Inglewood Road aforesaid" (dated 19/9/1891). William died one week later on the 26th September 1891.Photographs of a field trip to Rocky Vale Villa, 7 Wicks Road, Maiden Gully, Bendigo by the Bendigo Historical Society.history, bendigo, rocky vale villa maiden gully, william beebe stonemason bendigo

Glen Eira has a long history of association with various heraldic forms. From its early years the municipality of Caulfield had used the armorial bearings of the Caulfield Family (the Charlemonts of Castle Caulfield) to represent the roads board and later the town and city. In 1969 Caulfield City Council began planning to apply for an official coat of arms for the City. In 1974 Horace Hall, a Balwyn North resident and member of the Heraldry Society in London advised Council that the current usage was illegal, and that the Houston family, current owners of the Caulfield Arms could take legal action against Council for 'usurping their arms'. Mr Hall was commissioned to develop new heraldry for the City, and in conjunction with J. P. Brooke Little at the College of Arms, London, he prepared an acceptable design for Caulfield's Coat of Arms. The Council paid an additional sum to have a standard painted on the Letters Patent and the municipality's new coat of arms was drawn up in June 1975. The Coat of Arms retains a number of heraldic elements from the original Caulfield family insignia, including the dragons, the colours and the elements of the shield. The newly registered coat of arms and Letters Patent document for the granting of arms was presented at a civic service to mark the granting of armorial ensigns and the city banner to the City of Caulfield on the 1st May 1977. Significant elements of the coat of arms granted by these Letters Patent are as follows: The motto 'Labore Vinces' translates to 'By our labours we will conquer'. The helmet represents the rank of the owner. Public authorities are granted an esquire's helmet. The brickwork on the crest is a recognised emblem of local government. The Letters Patent also display a banner and a badge, both official symbols of the City of Caulfield. The badge, which is displayed on the banner as well as on its own, features a bridled horse. This represents the importance of racing, the Caulfield racecourse and the Caulfield cup to the municipality. These letters patent officially proclaim the granting of the coat of arms to the City of Caulfield. They are highly significant to the City of Glen Eira as they are the primary document that signifies the official and ceremonial heraldic powers of the Coat of Arms of the City of Caulfield. Mounted Letters Patent illuminated document for the Grant of Arms to the City of Caulfield presented on 1st May, 1977. Hand written and hand painted on cream coloured parchment using different coloured inks, mainly black, blue, red and gouache and gold paint. The bottom edge is folded up over itself approx. 45mm revealing the flesh side of the parchment, which displays black ink signatures and three sets of two horizontal slits that hold three blue ribbon. The ribbons support three wax seals in round, gold coloured metal cases held by the wax through slots in the casing. Although covered by the cap top, each wax seal within displays a different flag emblem with a crown on top, surrounded by a ring of text (difficult to read), noted when the cases were opened during conservation treatment. See attached transcription.arms, symbol, heraldry, glen eira, council, caulfield

Arthur was a well-known Surrey Hills identity until early 1990s. He was a welder and ran his business from his home at 55 Sunbury Crescent. His father had been a hansom cab owner/driver changing to taxis when cars took over. Arthur known to most locals as "Tiger" was a mine of information on local history and supplied many photographs of Surrey Hills. REF: Oral testimony - Rudi Mineur, 22/7/2019: Arthur was born at 55 Sunbury Crescent and was an only child; he lived all his life there, and did not marry. This photo was taken at the home in Sunbury Crescent of Rudi and Betsie Mineur. Rudi worked as a taxidermist and often had large fish to mount as trophies. This photo was taken at Arthur's request as a ruse. He did not catch the fish. Arthur was the only son of Frederick Adolphus Lyons (1891-1980) who was born in Surrey Hills, son of Thomas and Catherine Lyons. He married Elizabeth Ruby Hall in 1918. They lived at 55 Sunbury Crescent. The Lyons’ home was called ‘Knopshambury’ - this was probably a misspelling of Knockshanbally in Co Kilkenny, the birth place of Fred’s father, Thomas Edmund Josias Lyons (1846-1915). Arthur Lyons was born in Surrey Hills on 12 Jun 1920. He became a motor mechanic / welder and lived at 55 Sunbury Crescent. This is one of a series of photos donated by Arthur Lyons. The donation was made while he was in hospital. He died shortly afterwards (23 Sep 1990). Donation was finalised by a neighbour, Mrs Florence Ann Armitstead, wife of Glen Victor Armitstead. Glen was a local hairdresser. They moved to 11 Sunbury Crescent after their marriage in 1939. Arthur had no relatives to distribute the material to. A coloured photograph of a man, dressed in a jumper, trousers, gumboots and a hat, posing with a fish and a fishing rod.Arthur Lyonssunbury crescent, surrey hills, taxis, motor vehicles, welder, fishing, arthur lyons, arthur frederick lyons

The University's mace was carried in procession for the first time during the Graduation ceremonies in May 1996. The mace was presented to the University by former Chief Commissioner of the Ballarat City Council, Vern Robson, at a ceremony on 02 February, following a national competition for its design, sponsored by the Council. (The Flag, Issue 2, July 1996) Nineteen artists responded to the competition which called for a design that would embody a distinctive Australian image reflecting the heritage of the city and in relationship with gold, an Aboriginal element and the history of the University. The winning entry, dominated by a poppet head, was submitted by Central Victorian artist/sculptor Trefor Prest, a sessional lecturer in sculpture at the University.(The Flag, Issue 2, July 1996) The Herald Sun of 03 February 1996 reported 'the new mace shows importance elements of Ballarat's heritage as well as the university's focus on the future. The artist emphasises the egalitarian nature of Australia as embodied in Ballarat's famous slice of history - the Eureka uprising. ... The mace has a poppet head at the top of the shaft - an unusual element for a mace - but it represents Ballarat's mining history and the University's evolution from the Ballarat School of Mines. An opening egg at the top stands for the nurturing of development and learning. The mace's straight shaft is depicted as the tree of knowledge and, incorporating a bark canoe scar, Ballarat's Aboriginal heritage. At the end of the shaft is a surveying device, which represents precision and accuracy ads embodied in the university's academic pursuits.' Bob Morrell of the University organised the national competition to design the mace and said 'It is in keeping with the university's logo, 'proudly flying the flag', which incorporates the Southern Cross.' This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007. Trefor Prest lectured in Sculpture at the University of Ballarat from 1995-1996.The mace symbolises the office of the Chancellor. The design of the mace is the outcome of a national competition and represents the cultural diversity of Australia. The poppet head on the top of the mace refers to gold mining, which underpinned the development of Ballarat. The protruding spikes recall the Eureka Stockade. The 'egg' shape enfolds and nurtures the development of knowledge and learning. The shaft with the three 'branches' represents the Tree of Knowledge, and includes a bark canoe scar which recognises the integration of black and white Australian traditions. The lower part of the shaft culminates in a device suggestive of scientific or surveying and measuring technology. This represents precision and accuracy embodied in the academic pursuits of Federation University Australia.art, artwork, trefor prest, prest, mace, federation university, university, eureka stockade, aborigines, scarred tree, mining, university mace, ballarat

Richard Bennett was the first born child of Richard Bennett and Ann Isabella Kirk in February 1828 in London England. His father was a silk weaver. His family came to Sydney in 1833 but then returned to England in 1837. Richard came out himself in 1843 when he undertook a training course on the care of sheep. He first visited Belfast in January 1846 and described it as being" The centre of a large squatting district". In 1853 he married Elizabeth Nicholson Watson at St Johns Church of England Belfast Victoria. They had 11 children, 6 registered in Victoria and the other 5 born in New South Wales. Richard's aunt (or sister some sources say) Isabella married into "Belfast Royalty" by marrying Lloyd Rutledge in 1852 and they built 'Cooinda' in 1855 and lived there. However, Lloyd apparently fell down the steps drunk one night in 1858 and broke his neck. Richard's brother Ryder Bennett was Rutledge's accountant. (William or Lloyd?) Richard's sister Matilda married James Mylne knight. Richard Bennett worked on a number of properties in the district as well as heading to New South Wales in 1858 -1870 then he returned to the Port Fairy Area. He established the River Shaw Wool Scouring establishment at Yambuk in 1876 but by 1879 he had moved his business to the banks of the Merri River Dennington. He retired in 1887 and lived the rest of his life in Warrnambool. He died on 11th September 1904. Richard Bennett wrote many letters to the local newspapers regarding the early history of the district in 1984 these letters were published under the title "Richard Bennett's Early Days of Port Fairy" A book named "Richard Bennett's Early Days of Port Fairy" was edited by Jan Crichett using his letters Early settler noted for his letters regarding the Early Days of Port FairyBlack and white portrait of gentleman with a squared collarpionner, bennett, richard, dennington., early days of port fairy, river shaw wool scouring

"The Melton Viaduct, opened in 1886, is of State heritage significance as a very large and visually distinctive wrought iron, lattice girder trestle bridge over the Werribee River (now Melton Reservoir). It comprises 18.3 and 9.1 metre spans, in a generally alternate arrangement, of total length 375 metres, and standing 38 metres over the Werribee River. Wrought iron small section iron was used to build tension trussed trestle legs, which supported four lines of rivetted wrought-iron deck-type double lattice trusses. It has bluestone abutments and pier bases of coursed rock-faced bluestone with drafted margins. The larger half-piers, now usually submerged in the Melton Reservoir have sharp tapered cutwaters and curved coping at the tops. While designed to carry two rail tracks it has only ever been used as a single track line. Despite several alterations to its deck structure, it remains an outstanding example of a lighter structural design employing open metal trestle supports and metal truss girders. The direct Melbourne to Ballarat railway link of which the Melton viaduct was the major engineering work contributed significantly to the history and development of Victoria. This new link reflected Ballarat’s diversifying economy as well as the commercial and political influence of the metropolis. Construction of the bridge, and the associated large workers camp, were extensively photographed, documenting an important episode in local history. The railway enabled the development of new industries in the Melton area, notably the timber industry and a chaff industry of national importance, greatly facilitated the later transition of the Shire from a pastoral to a farming economy, and struck a major blow to Melton township’s era as a wayside town servicing Ballarat road (especially coach) traffic". Melton Railway Bridge being built across the Werribee Rivertransport

The Kangaroo Hoppet is Australia’s premier long distance cross country ski race, and a member of the Worldloppet series of international cross country ski events. After running the event for 10 years, it was decided they should become part of the Worldloppet series of marathon ski races. Representatives from the Birkebeiner Nordic Ski Club and the Australian Ski Federation attended the Worldloppet Annual Meeting in Finland in June 1990 to put the case for the acceptance of an Australian event into the Worldloppet series. Before being admitted, they had to demonstrate that the Birkebeiner Club could run a world class event, so three months later in August 1990 a 42km event named the Australian International Ski Marathon was held at Falls Creek together with a 21km Birkebeiner race and a 7km event called the Birkebeiner Lite. The event was approved by delegates from USA, Norway and Austria, in 1991 Australia became the 12th member of Worldloppet, with the condition that there had to be a name change. After some late night discussion allegedly involving red wine from North East Victoria the main event became the 42km Kangaroo Hoppet, with the minor events being the 21km Australian Birkebeiner, and 7km Joey Hoppet. In the winter of 1991, the first Kangaroo Hoppet was held. It was a great success and has been a regular fixture on the international ski calendar ever since. It features the main 42km event as well as a 21km event and a 7km event. The Hoppet brings the Australian snowfields to an international audience. In 2011 the Men's Winner was Petr Novak from the Czech Republic in a time of 1:16:04. The winner of the Women's event was Esther Bottomley of Australia in a time of 1:42:22. Due to lack of snow, the course had to be relocated to the Mt McKay area at the top of the ski resort. The 42km Hoppet course was shortened to 30km.This poster is significant because it documents an event which brings international attention to Falls Creek and the surrounding region.A poster featuring a group of competitors from a previous Hoppet event. A Kangaroo Hoppet road sign is on the left. The page border is yellow. Logos of AGL, Falls Creek All Season Alpine Resort, Alpine Shire, Tourism Victoria, Parks Victoria and the Birkebeiner Nordic Ski Club are across the bottom of the poster.At the top: Kangaroo HOPPET 21 Australia's PREMIER X-COUNTRY SKI RACE On the road sign: KANGAROO HOPPET 42km Beneath the image 27th August 2011/ 42KM 21KM 7KM Below the line of logos: Ph. 03 5754 1045 / [email protected] www.hoppet.com.au Across the bottom in larger cursive text www.hoppet.com.aukangaroo hoppet, worldloppet events, falls creek, mt. beauty

Until 1960 there were no telephones in Falls Creek. The only access to a phone was at Rocky Valley Camp where the State Electricity Commission (SEC) had an extensive network to Mount Beauty, Bogong and the other camps such as Clover power station and Howman's Gap. There were test points with a phone beside the road where contact could be made to the office in Mount Beauty. The SEC was unconcerned about Falls Creek, so no power was connected until 1960 when Tom Mitchell aired the matter in parliament. Tom was a keen skier. He applied to the Post Master General who was then responsible for telephones as well as mail. The PMG staff came up from Bright and installed an exchange in Diana Lodge. There were only about 15 lines to a post across the road uphill about 20 metres. It was from here that you could put a line from the building into a box where connections were possible. You had to buy a cable from the disposal store. It needed to have an alloy of copper and steel in the wire similar to what the army had used during the war. If the phone failed the owner would have to find the break in the wire, not an easy task in the heavy snow. Then came the telephone itself. Falls Creek was given old-fashioned sets with a hand wound magneto to ring the bell at the exchange. When the operator answered she could then plug a line into another phone line or the exchange in Bright. In the phone were two dry cell batteries that carried the spoken word to the other phone connected. Trunk lines were expensive then, so each trunk call was timed by the minute. The operator would disconnect you after a minute if you did not reply to her question "are you extending?". These telephones were donated by Julian Newton Brown. Julian's Lodge Arundel was known as Falls Creek 11.These telephones are significant because they illustrate the earliest form of technology available to connect Falls Creek Village to other areas.Telephones constructed of polished wood, brass bell, handles and cabling. Designed to operate through a telephone exchange. They operated on two dry cell batteries.Attached to front of telephone: Instructions on how to make or receive a call.falls creek village, falls creek communicaton

The two-door nineteenth century cabinet was purpose built with a curved back to fit the proportions of the lantern room interior and is likely to date from 1888-89 when the new lighthouse was fitted out and provided with furnishings and fixtures. The Public Works Department provided a range of lightstation furnishings including office desks and cabinets, and domestic settings for keepers’ quarters, with nineteenth century items often stamped with a crown motif and the PWD monogram. The curved cabinets installed in lantern rooms however do not appear to display this small feature. The cabinet needed to be custom made to fit the proportions of the room, and for this reason it was possibly made on site or perhaps even supplied by Chance Bros as part of the entire lantern room installation. The company usually provided timber panelling for their lantern room interiors (since removed from Point Hicks), and a cabinet may have been included in the assemblage. It may not have originally been painted; today doors area grey/silver colour and the rest of the cabinet is emerald green. It is not known whether it is freestanding or fixed to the wall. A similar cabinet with panelled doors remains in the Gabo Island lighthouse and evidence of green paint on the wood indicates that the cabinet frame was also formerly painted green but later stripped to reveal the wood finish. The Cape Nelson lantern room has a curved cabinet with the same door type but has a drawer above each door. It too was formerly painted emerald green before it was stripped back to its present wood finish. Cape Schanck’s lantern room cabinet is unique for its curved front as well as curved back, and it stands on a skirting. The two doors are in the same style, although they open with a brass knob. Further research into these distinctive cabinets may resolve the interesting question of their construction. The Point Hicks cabinet is a unique, original feature of the lighthouse lantern room and has first level contributory significance for its historic values and provenance. The Point Hicks cabinet has two doors, each framed and beaded around a central panel, and there is a simple door knob. The back is curved and the front is straight and the doors are painted a grey/silver colour and the rest of the cabinet is emerald green.

A small number of heavy cast iron weights and two rods remain at the Point Hicks. The weights and rods were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene-fuelled light turning. They were attached to a cable or chains and moved vertically in similar fashion to the way weights move on grandfather clocks. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. The cables and weights in this lighthouse were visible as they moved through the length of the tower up to the lantern room. It was usual for systems to move inside a tube extending up to the top, but in this case the tower’s cast iron spiral staircase, which is supported on cantilever cast iron brackets set into the concrete wall, spiralled around the space in which they moved. Lighthouse keepers had the arduous job of having to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, all of this became redundant and the motors were able to turn the optic for as long as there was power to drive them. In December 1964, the original 1890 Chance Bros kerosene-fuelled light and clockwork mechanism were replaced by small electric motor, and the number of keepers reduced to two. The six circular weights and rods originate from the obsolete system and may have been part of a larger set. Wilsons Promontory retains seven of its original set of ten weights, all of which are detached from the tower’s weight tube. Cape Schanck has a set of fourteen weights remaining in situ as well as another four detached weights, which have inscriptions . One weight is displayed in the lantern room at Cape Otway. The Point Hicks weights have first level contributory significance for the insights they provide into the superseded technology and operations of a late nineteenth century lighthouse. They are well provenanced and are significant for their historic value as part of the lightstation’s Chance Brothers optical system installed in 1890.PHLS0005.1 Round cast iron weight with flat base used for lens clock-work mechanism attached to a bent metal rod. PHLS0005.2 Removable round cast iron weight with flat base used for lens clock-work mechanism stored above the other weight.

In the early 1900s a new Coffee Palace was erected on the first railway land to be leased for private business in Wodonga. This Coffee Palace (later to become Glenburnie Guest House) was situated in High Street opposite the former Customs House which at the time was being used as the Wodonga Police Station. It was built by Mr Denny Donovan and operated by his wife. An article in the Wodonga and Towong Sentinel declared that “No expense has been spared in the erection and fitting up of the Palace, which is intended to supply a long felt want”. The building consists entirely of brick and the rooms are lofty, spacious and well-ventilated. The bedsteads are modern, and will satisfy the most fastidious. The motto of the proprietress is “Cleanliness, civility and attention”. Mr Donovan died in January 1908 and in 1909 the Wodonga Coffee Palace was sold by Mrs Donovan to Mrs P. Egan who advertised hot and cold shower baths with meals at all hours. In 1913 the Wodonga Coffee Palace was taken over by Mrs Cuthbertson and Miss Steele. In 1921 Wodonga Coffee Palace was taken over by Julia Ronan who had successfully conducted the dining rooms at the Wodonga Saleyards for 15 years until those premises burned down. The Wodonga and Towong Sentinel on 10 January 1936 reported that “the business premises formerly conducted by Mrs Ronan have been renovated and refurbished. The new proprietresses are Misses Breen, who have had extensive experience in managing such businesses. The new premises will be known as the Glenburnie Guest House.” Changes of ownership continued with Mrs M.E. Elliot taking over in December 1940, followed by Mrs Stella Victoria Wong in 1945. In 1953 it was again taken over by Mrs E.M. Moran. The date of the closure of Glenburnie Guest House is uncertain but the building was demolished in the early 1970s.This image is significant because it is one of the few remaining links to an important Wodonga business.A photo taken from a newspaper article about Glenburnie Guest Houseglenburnie guest house, early wodonga businesses, coffee palaces

Letter sent to Legatee R.J.A. Foskett by Miss Enez Domec-Carre informing him that she would be discontinuing the use of Legacy House for her private physical culture classes. Details in the letter explain that she had resigned from running Legacy Girls' Classes on 31st December 1970. Legacy continued to allow her to hold private classes in Legacy house for young business girls of the city on Monday afternoons. In this letter she mentions her health means she was stopping those classes and thanked Legacy for their generosity. She still offered assistance with costumes for the annual demonstration and could be called on if any need arose. Enez was the supervisor of the girls classes held at Legacy House for many years. She organised many annual demonstrations and was held in high regard by Legacy. The library at Legacy House is named in her honour. See also a newspaper article at 00978 which outlines her achievements, a summary of her career at 00458 and 00129. She was a former Miss Victoria and was known for her physical education skills and for introducing grace and culture to Melbourne. In 1932 she joined Melbourne Legacy as assistant to Mrs Gilles (wife of a Legatee) later became the chief instructor of girls' physical education until she retired aged 65. In the post World War II baby boom the Legacy evening classes were attended by about 400 girls. She helped organise Legacy Widows and Legatee wives to sew the costumes for performances. Among her proudest moments was a display by 1000 Junior Legatees at the MCG during the 1954 visit of Queen Elizabeth II. As well her work for Legacy she ran physical education, ballroom dancing and debutante preparation classes.The letter illustrates Miss Carre's loyalty to Legacy and discontinues her private classes at Legacy House.Off-white foolscap photocopy of letter sent to Legatee R.J.A. Foskett by Miss Enez Domec-Carre.Stamped in purple "COPY ONLY"girls' classes, enez domec carre

Navy blue book with a blue dust jacket, published about the history of Legacy, including photographs of activities and early members. Incudes a newspaper article stuck on the rear flyleafs about singer Dame Gracie Fields.non-fictionhistory, mark lyons, 50th anniversary

The VN Commodore was available in Executive, S, SS, Berlina and Calais specification levels, although a more basic SL model (opt. code A9K) was supposedly offered to government and fleet buyers, as it was not officially listed as part of the Commodore range. Changes in the relative values of the Australian dollar, the Japanese yen, and the US dollar made it impractical to continue with the well-regarded Nissan engine of the VL. Instead, Holden manufactured their own 90-degree V6 based on an old Buick design from the US, although initially it was imported. The 5.0-litre V8 remained optional and received a power boost to 165 kW (221 hp). Both these engines used multi point GM EFI and the V6 using 3 coil-packs for ignition. Holden and HSV developed this car as the basis for racing in Group A Confederation of Australian Motor Sport events. While the minimum number of cars built to qualify in Australian Touring car Championships, with modified body kit, brakes or engine is 500, only 302 VN were built but CAMS granted an exemption allowing them to compete.Holden and HSV had worked hard to develop this car to be a serious competitor to the Skyline, Ford Sierra and the BMW which had dominated in the previous years. This was to be the Holden’s answer and coincided with the return of Peter Brock back to the Holden team from 1987.Mechanically the cars were fitted with reworked version of Holden’s 4.9 litre V8. The engine block was cast for additional strength, modified cylinder heads roller rockers and high fuel flow fuel injection was applied. Output was 215 kw at 5200revs and, though at today’s standard, that is not that much it was very impressive at that time. The drive was through a six speed ZF gearbox with a heavy duty racing clutch and a limited slip differential.Under the Hawke government's Button car plan, which saw a reduction in the number of models manufactured locally, and the introduction of model sharing, the VN Commodore was rebadged as the Toyota Lexcen, named after the late America's Cup yacht designer, Ben Lexcen. Subsequently, the Toyota Corolla and Camry were, similarly, badged as the Holden Nova and Holden Apollo.Red executive 4 door sedanHolden Lion and stone emblem grille centre, Commodore boot LHS, Lion and stone emblem boot RHS.vehicle, vn commodore, holden, car

This corset cover 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 as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This corset cover is an excellent example of an everyday clothing item with the decorative trim favoured by women in the late Victorian era. Eliza Towns has added pintucks, embroidered feather stitch and a highly decorative hand crocheted lace trim to the neckline, sleeves and front of the bodice. Corset covers (sometimes called camisoles) began to appear in women's fashion around 1840 and continued through the late Victorian decades into the Edwardian era. The long chemise was considered too bulky to cover the corset and so the corset cover was developed to be short and light and was worn over the corset and under the bodice of the outer garment. A woman would dress into her chemise and drawers first, followed by her corset and finally her corset cover as a final layer under her dress. Corset covers served several purposes. They provided protection against sweat (and the need to regularly wash the corset), helped smooth the lines of the corset and increased a woman's modesty.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery and crochet to embellish an item of personal underclothing. It is also significant as an example of a practical solution to the difficulty of hand washing a corset in the Victorian era.A short (waist length) corset cover of fine cotton. Short sleeves fall from a square neckline and are gathered into a wide crocheted lace trim with a band of embroidered feather stitch. The same crocheted lace design and feather stitching are also on the square neckline which is finished with a drawstring ribbon. The bodice has a front opening with five buttons and is bordered on each side with four pintucks. It has a drawstring ribbon at the waist and an extra layer of fine cotton lining has been added to strengthen the corset cover under the arms. The back has two bands of three pintucks running vertically from the neckline to the waist.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, great ocean road, shipwreck coast, nhill, wimmera, eliza towns, underclothing, corset cover, camisole, machine sewing, hand sewing, crocheted lace, pintucks, feather stitch, embroidery, underwear, victorian era underclothing, victorian era corset cover

This item of underclothing, called a "combination" 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 as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear.Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and the left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns

The Beebe name was well-known in Bendigo in the last quarter of the 19th and the early part of the 20th centuries. From 1875, William Beebe senior, monumental mason, occupied a site in the centre on the city, in Mitchell Street opposite King Street. Death was more part of life in those days, and the Beebes were there to provide the burial monuments. Later, he took his sons into the business, which grew as Beebe and Son. Many examples of their work can be found in the local cemeteries. William Beebe senior (1830-1891) was born in Rutland, the smallest English county in 1830, to stonemason Chamberlain Beebe and Susannah Clements. William emigrated to Victoria in 1854 and after engaging on unknown works in Port Fairy, Dunkeld, and Melbourne arrived in Bendigo. His obituary records that he commenced work here on the site of the Bank of Australasia (opposite the Shamrock Hotel), which would have been no later than 1856. He took up a 13 acre selection on the site of Rocky Vale Villa in 1864 and continued to select or purchase further parcels of adjoining land until he owned some 150 acres, much of it unfit for cultivation. He was a keen gardener and had a garden and orchard around the house. William took over 20 years to build the two-story sandstone and granite house "Rocky Vale Villa". The house was constructed from sandstone sourced "from an adjacent ridge of rocks" (Bendigo Advertiser 28/9/1891). Granite from Harcourt was used for lintels and quoins. Not long before he died, William was still adding to the house. In the Codicil to his will, he states that "I have just built and completed two additional rooms to my Dwelling house situe at Inglewood Road aforesaid" (dated 19/9/1891). William died one week later on the 26th September 1891.Photographs and Historical Documents relating to Rocky Vale Villa, 7 Wicks Road, Maiden Gully, Bendigo by the Bendigo Historical Society.history, bendigo, rocky vale villa maiden gully, william beebe stonemason bendigo

The red wattlebird is a passerine bird native to southern Australia. Measuring 33–37 cm (13–14.5 inches) in length, it ranks as the second-largest species among Australian honeyeaters. The species was first described by John White in 1790, and three subspecies are currently recognised. The red wattlebird is found across southeast Queensland, New South Wales, Victoria, South Australia, and southwest Western Australia, inhabiting open forests, woodlands, and urban gardens or parks. Known for its loud and conspicuous presence, the red wattlebird primarily forages in trees, although it occasionally searches for food on the ground. As one of the world's largest nectar-feeding birds, it consumes nectar from a wide variety of flowering plants, supplementing its diet with insects. Territorial and sometimes aggressive, it defends rich nectar sources from other bird species. Breeding occurs throughout its range, with the species constructing cup-shaped nests in trees and raising one or two broods annually. Despite localized declines due to habitat loss, the red wattlebird is listed as Least Concern on the IUCN Red List. This specimen was falsely identified as a yellow wattlebird in original catalogue records and is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The red wattlebird has predominantly grey-brown plumage, featuring red eyes, pale pinkish-red wattles on each side of the neck, white streaking on the chest, and a prominent yellow patch on the lower belly. Swing-tag: 58a. / Wattled - Honeyeater / See catalogue page 18taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, bird, yellow wattlebird, tasmanian wattlebird, anthochaera paradoxa, australian birds, wattlebird, red wattlebird

The Australasian swamphen is a visually striking and socially complex bird found across Oceania. It can be found in eastern Indonesia (specifically the Moluccas, Aru, and Kai Islands), Papua New Guinea, New Zealand, and Australia. As a member of the rail family (Rallidae), it belongs to the diverse order Gruiformes, which also includes cranes and other rail species. Like other rails, it possesses relatively short wings and a strong, elongated bill, both adaptations suited to its semi-aquatic wetland habitat. This swamphen is easily identified by its deep blue-purple plumage, prominent red frontal shield, and sturdy red legs. It primarily inhabits swamps, marshes, and other wet lowland areas, though its range has expanded to include pastures, roadsides, and farmland due to significant landscape modifications over the past 150 years. Unlike many wetland birds, it is highly adaptable and thrives in both natural and human-altered environments. Its diet is similarly flexible, consisting mostly of plant material such as grass stems, shoots, and leaves, but also including invertebrates and, on occasion, the young of other bird species. This specimen was misidentified as a Purple Swamphen in original catalogue records and is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This taxidermy specimen is of a Australasian swamphen which is mounted standing on a wooden platform and has a paper identification tag tied to its upper left leg. The specimen has dark colouring on its back and head with a purple-blue coloured neck, breast and belly. The bill is oversized and is orange/red which is the same colour as the frontal shield on the bird's face. The eyes are made from a red and black glass and the legs of this specimen are orange. The legs are elongated and the toes also long and unwebbed. 17e. / Purple Gallinule / Catalogue Page 35 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, swamphen, moorhen, purple bird, hen, purple swamphen, water bird

Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running Pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery and the Civic Collection holds a number of important items within its collection. Ned Kelly is one of Australia's most iconic outlaws. Kelly was born and raised in rural Victoria, the third of eight children to Irish parents. His father, a transported convict, died in 1866, leaving Kelly, then aged 12, as the eldest male of the household. The Kelly's were a poor selector family who saw themselves as downtrodden by the squattocracy and as victims of persecution by the Victoria Police. While a teenager, Kelly was arrested for associating with bushranger Harry Power and served two prison terms for a variety of offences, the longest stretch being from 1871 to 1874. He later joined the "Greta Mob", a group of bush larrikins known for stock theft. A violent confrontation with a policeman occurred at the Kelly family's home in 1878, and Kelly was indicted for his attempted murder. Fleeing to the bush, Kelly vowed to avenge his mother, who was imprisoned for her role in the incident. After he, his brother Dan, and associates Joe Byrne and Steve Hart shot dead three policemen, the government of Victoria proclaimed them outlaws. Kelly died aged 25 at Melbourne Goal after being captured by Police in Glenrowan and sentenced to death. (Source Wikipedia).Brown glazed slip cast jug. Includes details which are iconic to the image of Ned Kelly including face and body armour pistol and gloves. Ned's left arm forms the handle.Verso; NED KELLY / Bendigo Pottery Epsom (stamp) Underside; Bendigo Pottery / Limited / Edition Series / 879 / 3000 / Australiacity of greater bendigo tourism, bendigo pottery

Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running Pottery’s in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. The City of Greater Bendigo has had a long history of partnering with Bendigo Pottery and the Civic Collection holds a number of important items within its collection. This John C Watson (Chris Watson) 'reform' flask was one of a limited edition character bottles produced by the Pottery to commemorate important figures in Australian politics. He was the first Labour Prime Minister elected forming a minority government in April 1904, aged 37, after the ALP withdrew its support from Deakin. He was one of the first socialists to head a government in a parliamentary system, attracting international attention, and remains Australia's youngest prime minister. After less than four months in office, the Watson government lost a confidence motion and Watson was succeeded as prime minister by anti-socialist George Reid. The original reform flasks were English salt-glazed stoneware flasks produced in the early 19th century shaped into the form of figures connected with the Reform Bill of 1832. Much was made of puns like ‘the spirit of reform’ at the time. Artist John Frith has taken the reform flask form as inspiration for a series of political ceramics of some Australian Prime Ministers. The series included Edmund Barton, Alfred Deakin and Watson.Glazed ceramic flask in the shape John Watson. Square shaped with most of the detail on the front facing side other than head which is more detailed. Cork still in place in top of head.On reverse of flask; John C Watson / Prime Minister / of Australia / 27.4.1904 / To / 18 .08. 1904 Bendigo Pottery / LMTED / Edition Series / 55/1200 /Australia Signed lower centre; 'Frith'australian politics, bendigo pottery

ID 5225 note: Further information relating to allotments marked on the hand-drawn plan are included in ID 5224 - Ringwood Station Estate.Typewritten letter from A.V. Greenwood with hand drawn plan of Ringwood Shop and Dwelling Estate, detailed description of property for sale, and top and side elevation views of house. (7 pages)(Transcript of first page - to unknown recipient) Phone 988 Central, 331 Canty Greenwood Pty. Ltd. 5 Flinders Street Melbourne. Dear Sir, 1. Attached please find drawings of my house at Ringwood. 2. It is for sale at £4,865 or to let at £5 per week to an approved tenant. 3. I sold it to Mr. De Garis and vacated it, but it is now back on my hands. 4. I leased another place instead of living in my own. I may be able to cancel same; in the meantime, however, I propose to sell or let my own. The painters are now going through the place; re-varnishing, re-oiling and re-polishing so that in about five days it will look "spick and span". 5. The house was specially built under my own supervision. 6. It is very suitable for a high class Guest House, Doctor's residence, Hospital or Convalescent Home. If you know of anyone whom it might suit, please communicate with them. DESCRIPTION 7. It stands on 305 feet of land facing Greenwood Avenue. It is cement, roughcast and hardwood, well oiled, and is now being redone so that the house is as good as new; red tile roof; verandahs three sides; two sleep-outs; five bedrooms; large dining room; very large music room with nooks, upstairs lounge, study; sewing room; built-in wardrobes and cupboards throughout; handsome kitchen with handsome pantry cupboard with drawers and glass front; one bath room; one shower room; wash house with patent copper and laundry. Every modern convenience, hot water system (through copper pipes with large copper cylinder) electric lights everywhere, outside and in, Yan Yean water laid on everwhere throughout house and gardens. Floors throughout are the very best, close set, stained and polished; dainty lead light windows etc. 8. There is a big garage, with tiled roof and two rooms with all conveniences for a married couple. Property is well drained with a system of its own. The house stands upon the top of a hill close to Railway Station, say 500 feet from the Footbridge. 9. The garden has expansive shrubs; sheds; fernery; tennis court. 10. A handsome piece of furniture goes with the house; a combination pantry and storeroom for groceries, milk, bread etc., consisting of drawers, glass and wire doors, as mentioned above. 11. It is within easy distance of Melbourne as it is only two minutes from Ringwood Station, which is a frequent electric train service bringing it within 39 minutes of the City. It is thought better by some to go further out into the country atmosphere and walk a short distance at the end than to go by train 20 minutes then walk 15 to 20 minutes. 12. The price quoted of £4,865 is made up as follows - 305 feet of land @ £5 ... £1,515 Garage and dwelling ... £300 House hot water system, American cupboard ... £2,600 Water, fencing, sheds & drain ... £250 For the lot ... £4,865 Should you require copies of the enclosed drawings I shall be pleased to supply same. 13. Mr. J.B. McAlpin is the local agent, Phone Ring. 7 (after hours Ring. 44) or you may phone me Central 988. 14. The house is south of the line, facing Greenwood Avenue and immediately at the back of Ringwood House, which is also my property. Yours sincerely, A.V. Greenwood (illegible) ..... (Transcript of second page) RINGWOOD SHOP AND DWELLING ESTATE See these letters on plan attached (H.) Ringwood House and Shops on 100 by 150 feet of land fronting Bedford Road 100 feet @ £10 per foot - £1,000 House and shops - £2,400 ... £3,400 Ringwood House consists of Boarding House, (Phone 101) and two shops, mainly brick; 9 inch walls. Will carry another story. Has music room, dining room, entrance halls, 10 bedrooms, large verandahs, all conveniences, hot and cold water, and stands on what will become a most valuable business corner. (F.)(G.) Mr. Greenwood's house, garage and sheds, stands on 307 feet of land fronting Greenwood Avenue. See detailed description attached ... £4,865 (J.) Cottage on Block 81 in William Street ... £750 (K.) Cottage in Pitt Street ... £650 (Total) £9,665 ..... (Description of third page - Subdivision Plan) Drawn by Edyth Greenwood, phone 988 Central. Subdivision includes Station Street, Pitt Street, Bedford Road, Wantirna Road, James Street, William Street (later Kendall Street), Greenwood Avenue, Ellison Street, and Haig Street. Circles denote blocks for sale. Squares denote house properties for sale. Other features marked include location of businesses along Main Street (Maroondah Highway), cool store, railway station, shop and police station on Bedford Road, church on Station Street, site of schoolmaster's residence and State School, and location of proposed public baths

The Bentwood chair has been called ‘the world’s most popular chair’. The original Bentwood chair, was designed by German-Austrian cabinet maker and Master Joiner, Michael Thonet (b.1796 - d.1871) and introduced to the market in 1859. Thonet started his business in his home town of Boppard as an independent cabinet maker in 1819. In the 1830’s he began trying to make furniture from glued (laminated) and bent wooden slats. Over the next few years his attempts to patent this process failed in Germany, Great Britain, France, and Russia. He then began using lightweight, strong wood and bending it into elegant, comfortable furniture. The Bentwood technology took Thonet years to perfect. In simple terms, the wooden rods or lengths were wet by soaking or steaming, bent into shape and then held in place until they hardened into the moulded curved shape or pattern. The wood usually chosen for the bentwood chairs was maple or beech. Thonet had revolutionised an older process by industrialising the process. The dowels of wood were cut and prepared as components of furniture, treated by the ‘bentwood’ process, then ready immediately for assembling with very little extra workmanship needed. Thonet held 2 patents for this process, the second one ended on 10th July 1869 and was non-renewable. At the Trade Fair at Koblenz of 1841 Prince Klemens Wenzel von Mettemich was very impressed with Thonet’s furniture, especially the chairs. In 1842 Thonet sold his Boppard business and emigrated to Vienna, and began working, along with his sons, on the interior decoration of the Palais Leichtenstein, for the Carl Leistler establishment. In 1849 he began his own business again, the Gebruder Thonet to include his sons (translated “Brothers Thonet”). He produced the “No. 1” Bentwood chair. He received a bronze medal for his Vienna bentwood chairs at the World Fair in London in 1851, and a silver medal in Paris in 1855. In 1856 he opened a new factory in Koritchan (Moravia), where there were extensive woods of beech trees available for his enterprise. In the next years, five more Eastern European production sites were established in Bystritz (1862), Nagy-Ugrócz (1866), Wsetin (1867), Hallenkau(1867) and Nowo-Radomsk(1880). Thonet’s 1859 No. 14 “chair of chairs” (or “Konsumstuhl Nr. 14” – coffee shop chair no. 14) was the most famous of all of Thonet’s Bentwood chairs. In 1867 he received a gold medal at the Paris World Fair. This new style of furniture making became very popular. Up until 1830 50 million of these chairs had been produced. By the 1870’s Thonet owned offices in almost 20 countries, with sales locations across Europe, in Chicago and New York. In 1889 he set Thonet set up a head office in Frankenberg, Hesse. Bentwood models designed in the mid to late 19th century featured hand-caned or laminated wood seats and were usually stamped with the country of origin. The Bentwood elements were the backrest, seat rim and legs. Typically the seat was covered with ‘bucket’ leather. After the Patent ran out in 1869, companies such as Jacob & Josef Kohn began the production of bentwood furniture.The popularity of the Bentwood chair that was introduced by Michael Thonet in the 1850s is due to its versatility and timeless quality. Its style, whether varnished or painted, suits any room in the house. The lightweight chairs are also popular for café and restaurant seating, as well as for public gatherings. They can be easily moved around and grouped in a variety of ways to suit any occasion.Chair, bentwood, pair of two. Backrest has full length inverted U inside frame. Support rail and wire reinforcing between legs. 3692.01 seat has floral pattern pressed into wood 3692.02 seat is plain (replacement seat). Made by Harnison & Co.3692.01 chair's marks; Label ""HARNISON & CO./ NEUSOL / BUDAPEST" and "WIENER NOBEL" and "(symbol) N inside circle, under Crown" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, domestic furniture, dining furniture, bentwood chair, harnison & co., neusol, budapest, wiener nobel

When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Blaine’s Black Ball Line had commissioned her to be built for their fleet of passenger liners. At a cost of £43,103, the Aberdeen builders designed her to sail faster than the quick clippers designed by North American Donald McKay. She was a three masted wooden clipper ship, built with diagonal planking of British oak with layers of Scottish larch. This luxury vessel was designed to transport emigrants to Melbourne in superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first class passengers. At the launch of Schomberg’s maiden voyage, her master Captain ‘Bully’ Forbes, drunkenly predicted that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The winds were poor as Schomberg sailed across the equator, slowing her journey considerably. She was 78 days out of Liverpool when she ran aground on a sand-spit near Peterborough, Victoria, on 27 December; the sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted SS Queen at dawn and signalled the steamer. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers were able to disembark safely. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. After two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1975, divers from Flagstaff Hill, including Peter Ronald, found an ornate communion set at the wreck. The set comprised a jug, two chalices, a plate and a lid. The lid did not fit any of the other objects and in 1978 a piece of the lid broke off, revealing a glint of gold. As museum staff carefully examined the lid and removed marine growth, they found a diamond ring, which is currently on display in the Great Circle Gallery. Flagstaff Hill also holds ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the Schomberg. Most of the artefacts were salvaged from the wreck by Peter Ronald, former director of Flagstaff Hill. The Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large, fast clipper ship on the England to Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck, The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day Set of 5 horse harness buckles, 2" x 2" Buckles are encased in concretion. Recovered from the wreck of the Schomberg.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, schomberg, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, horse harness, buckle

When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Blaine’s Black Ball Line had commissioned her to be built for their fleet of passenger liners. At a cost of £43,103, the Aberdeen builders designed her to sail faster than the quick clippers designed by North American Donald McKay. She was a three masted wooden clipper ship, built with diagonal planking of British oak with layers of Scottish larch. This luxury vessel was designed to transport emigrants to Melbourne in superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first class passengers. At the launch of Schomberg’s maiden voyage, her master Captain ‘Bully’ Forbes, drunkenly predicted that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The winds were poor as Schomberg sailed across the equator, slowing her journey considerably. She was 78 days out of Liverpool when she ran aground on a sand-spit near Peterborough, Victoria, on 27 December; the sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted SS Queen at dawn and signalled the steamer. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers were able to disembark safely. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. After two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1975, divers from Flagstaff Hill, including Peter Ronald, found an ornate communion set at the wreck. The set comprised a jug, two chalices, a plate and a lid. The lid did not fit any of the other objects and in 1978 a piece of the lid broke off, revealing a glint of gold. As museum staff carefully examined the lid and removed marine growth, they found a diamond ring, which is currently on display in the Great Circle Gallery. Flagstaff Hill also holds ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the Schomberg. Most of the artefacts were salvaged from the wreck by Peter Ronald, former director of Flagstaff Hill. The Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large, fast clipper ship on the England to Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck, The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day Horse harness ring, 2" diameter Recovered from the wreck of the Schomberg.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, schomberg, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, horse harness

When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Blaine’s Black Ball Line had commissioned her to be built for their fleet of passenger liners. At a cost of £43,103, the Aberdeen builders designed her to sail faster than the quick clippers designed by North American Donald McKay. She was a three masted wooden clipper ship, built with diagonal planking of British oak with layers of Scottish larch. This luxury vessel was designed to transport emigrants to Melbourne in superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first class passengers. At the launch of Schomberg’s maiden voyage, her master Captain ‘Bully’ Forbes, drunkenly predicted that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The winds were poor as Schomberg sailed across the equator, slowing her journey considerably. She was 78 days out of Liverpool when she ran aground on a sand-spit near Peterborough, Victoria, on 27 December; the sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted SS Queen at dawn and signalled the steamer. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers were able to disembark safely. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. After two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1975, divers from Flagstaff Hill, including Peter Ronald, found an ornate communion set at the wreck. The set comprised a jug, two chalices, a plate and a lid. The lid did not fit any of the other objects and in 1978 a piece of the lid broke off, revealing a glint of gold. As museum staff carefully examined the lid and removed marine growth, they found a diamond ring, which is currently on display in the Great Circle Gallery. Flagstaff Hill also holds ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the Schomberg. Most of the artefacts were salvaged from the wreck by Peter Ronald, former director of Flagstaff Hill. The Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large, fast clipper ship on the England to Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck, The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day Horse harness ring, 2" diameter Recovered from the wreck of the Schomberg.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, schomberg, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, horse harness