History of the Loch Ard: The Loch Ard got it’s name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and to the east of Loch Lomond. It means "high lake" in Scottish Gaelic.The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we are able to interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Brass gas light tap with fancy metalwork end, recovered from the wreck of the Loch Ard. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, brass gas tap, brass light fitting, gas fitting

History of the Loch Ard: The Loch Ard got it’s name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and to the east of Loch Lomond. It means "high lake" in Scottish Gaelic.The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we are able to interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Glass decanter stopper; hand blown. The bulbous glass head has floral motif, neck is six-sided, base has textured surface. The stopper was, recovered from the wreck of the Loch Ard. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, decanter stopper, stopper, hand blown, bottle stopper

A letter written by Norm Smith and addressed to Kem Kemsley on 21 July 1975. It outlines recollections compiled by Norm Smith about the Intermediate Legacy Club (ILC) and individual members. His letter mentions 'Looking back over those years, recalling old time, old faces and places, we as Junior Legatees have a lot to be thankful for and I, for one, have always been exceedingly grateful to you, and those like you in legacy, who helped us so much.' Graham Billiet's letter dated 23 Mar 1974, mentions taking Frank Doolan to the reunion in 1974. Graham felt the ILC was winding down and was only running on half steam. He gives ILC members' addresses. Norm Smith's letter includes: Ted Kennedy, was the first president of the ILC, he was 'tall rangy lad with fiery red hair' who worked for United Distillers Ltd for 40 years (mostly in Brisbane where he joined Brisbane Legacy). Had been a keen junior legatee and taken part in Literary and Debating group and the Dramatic group where he met his future wife, Florence Pittard - which was the first marriage between junior legatees. He had been a naval cadet in the 1928 compulsory training and later joined the CMF where he was closely associated with L/ Stan Savige. He rose to rank of Major in AIF. Jack and Tom Kennedy, his brothers were in the Lacrosse team and his sister Molly in the JLC for years. G Billiet, a first nighter, very well known to legatees of the time. Bill Johnston, a studious type, went to MHS and university, became a Solicitor. Served in the RAAF as a Flight Lieut. Frank Corrie, prominent Junior Legatee in the Literary and Debating group, a fitter and turner by trade, was on JLC cricket and lacrosse teams, joined the AIF. Fred Hollingsworth, a motor mechanic, he joined CIG. He joined the AIF and served in the Middle East, and was one of the Rats of Tobruk as a sergeant. Bert Hollingsworth (brother of Fred) also in AIF and rank of Lieut. Is a past president of ILC. Bert Wood, a past president, worked for Victorian Railways, moved to Coolangatta. Dan Fitzgerald, active in the Drama group of JLC, worked as an announcer at the ABC. Alan Davidson, keen gymnast - particularly wrestling, helped with Alan Beattie (instructor of boys classes). Roy Davidson (brother of Alan) joined the AIF, afterwards joined M&MTB as a driver, married a Junior Legacy girl. Their younger brother Arthur was also in the lacrosse team. Roy Gilbert, keen junior legatee took part in Literary and Debating group and the Dramatic group and lacrosse team. Worked for Vacuum Oil Co., a past president of ILC and also married a Junior Legatee, Miss Lil Edmunds. Served in the AIF and was a Lieutenant in the Middle East. 'Jimmy' MacGregor, a colourful and handsome Junior Legatee, born in Collingwood, was one of L/ Stan Savige original contacts. Keen JLC gymnast and member of the football team. Worked at the Ret. Soldiers Woollen Mills in Geelong and was in the Geelong ILC. Frank 'Happy' Holliday, was in the lacrosse team, foundation member of ILC and past president. Served with the RAAF as an air frame fitter. Worked for L/ Con Fahle in the printing workshop for 40 years. Howard Auterey, joined the RAAF during the war and returned work for the State Saving bank before retiring in Warrnambool. Norman Smith, was working as an apprentice with M&MTB, took interest in Literary and Debating group and was in the lacrosse team. Was ILC president in 1946. Enliseted in the RAAF as airframe fitter. Retired from M&MTB after serving 50 years, married for 40 years to a daughter of an original Anzac who has also been an active member of the Ladies ILC for many years. Background: The ILC was formed in 1929. The idea of the club sprang from those boys who had outgrown the Junior Legacy Club. In the early days it fielded a lacrosse team and it was this that mainly held the members together (formed under guidance of L/ Jimmy Downing). Enthusiasm wained after a few years as it lacked a solid objective. The answer came from one of its members and in 1938 they founded the Don Esses Club. This was a club for the children of incapacitated ex-servicemen which met every Thursday night at 7.30 run by the ILC members. The name came from the signallers' code Disabled Servicemen's Sons. During the second world war 80% of the members of the ILC enlisted in the services. Leaving only 8 members that could not join due to ill health or reserved occupations. They continued the Don Esses and whatever aid they could to Legacy. ILC members had always helped Legacy where possible including being camp leaders or camp staff, with the annual demonstrations, and coffee stalls at the ANZAC dawn service. Post second world war some ILC members were nominated into Legacy, others drifted away in civil occupations. It was found difficult to recruit new blood into the ILC and eventually membership waned when the boys from the Don Esses clubs found other youth activities to join. The ILC ceased to meet regularly in the mid fifties. However a strong comradeship still existed between members and they would meet in one anothers homes. Members were always ready to help the senior Legacy Club in any way in their power and still helped at Christmas parties and summer camps. ILC was a service rendering organisation and was self governing. Non-sectarian and non-political, the members were ex-junior legatees over 18 years of age. After serving in World War 2 members were eligible to become members of Legacy. Was in a folder of material collated about the ILC by an early archive committee. A record of a Junior Legatee recording what he knew about ILC members and their life outside of Legacy in response to a request from L/ Kem Kemsley. It could have been part of the early archive committee working to capture Legacy history.White note paper x 18 pages handwritten by Norm Smith about the ILC members and a handwritten letter x 3 pages from Graham Billiet about ILC members with addresses.ilc, membership, junior legatee

This hand carved wooden pediment may have originated from a mirror, cabinet, desk or similar piece of furniture. The LOCH ARD: - The Loch Ard got its name from ”Loch Ard” a loch which lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curdle and Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of 29-year-old Captain Gibbs, who was newly married. The ship was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Loch Ard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Loch Ard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register. Ref: LA 6 64 264 The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history. Carved wooden furniture pediment or mount, recovered from the wreck of the Loch Ard. Inscribed plaque on underside. Handwriting on round sticker on edge.Plaque inscription "From Loch Ard wreck Port Campbell 1878 given by Haworth Bros to James Martin Snr Scarsdale" Diagonally on round sticker in pen "R 222A" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, carved headpiece, furniture, haworth bros, james martin snr, scarsdale, pediment, decorative mount

Sarah Bird 4th from left (seated) and Edward Pepper on her left (standing). George Bird, 2nd from right (seated). George Bird her great-grandfather and Sarah Bird and Edward Pepper, her grandparents. [from Evelyn Observer and Bourke East Record, morning edition, 18 November 1904, p. 3:] ORANGE BLOSSOM. The marriage of Miss Sarah A. Bird, eldest daughter of Mr George Bird, of "View Hill," Eltham, to Mr Ernest Edward Pepper, of Diamond Creek, was celebrated at the residence of the bride's parents on Wednesday, 9th November, 1904. The ceremony took place at 4 p.m. and was performed by the Rev Percey Knight, B.A., of Alphington. The bride entered the drawing room with her father who gave her away, and the Wedding March, was nicely played by Miss Wild. The bride was prettily dressed in creme voile nicely tucked and gathered, trimmed with guipure lace and silk ruching, sprays of orange blossom, wreath and veil, and she carried a shower bouquet. Her travelling dress was a very pretty blue. The brides-maids were Miss Ethel Barker dressed in pale green voile trimmed with creme guipure lace and silk ruching; and Miss Button in creme voile, guipure lace, silk ruching; both carried pretty bouquets. The groomsmen were Mr Lorimer, of Diamond Creek, and Mr George Bird, brother of the bride. Between forty and fifty relatives and friends partook of a bountifully provided and nicely laid out breakfast. The usual toasts were honored, and congratulations were freely tendered "to the happy couple". The decorations were very tastefully executed by Miss Beatrice Nelson, and Mr Sayers. The evening was very pleasantly spent in singing, recitations, games, and other suitable pastimes, while others "tipped the light fantastic toe". About 10 p.m., "while all was merry as a marriage bell", the bride and bridegroom departed secretly "to cheat surprise and prying eyes". The presents were numerous and handsome:– Parents of the bride, sewing machine; Miss A. Bird, silver breakfast cruet; Miss N. Bird, bread board and knife; Master A. Bird, pair glass dishes; Master R. Bird, pair photo frames; Mr Sayers, tea set; Miss Kidd, silver jam dish and spoon; Miss Wilkinson, carpet; Mr J. Kilpatrick, cheque; Mr W. Kilpatrick, clock; Miss Kilpatrick, silver butter knife; Mr J. H. Kilpatrick, hand painted mirror; Mrs Kerwin, pictures; Mrs Gilsenan, the handsome wedding cake; Mrs Nelson, Japanese occasional table; Misses Nelson, jugs and candlestick; Mrs Bunker, silver cruet stand; Miss Bunker, hand-painted vases; Miss E. Bunker, epergne; Mr E. Bunker, crumb tray and brush; Miss Jessie Gilsenan, cake stand; Mr Harold Gilsenan, auger basin and ornaments; Mr Lorimer, silver breakfast cruet; Mr A. Collins and Miss Jones, epergne; Miss Cassie Sweeney, jardiniere; Miss Ida and Ollie Cooper, silver butter dish; Miss Mills, large vases; Misses M. and F. Shillinglaw, handsome oak clock; Misses C. and E. Shillinglaw, pair large pictures; Mr Lucas and Miss Sutton, silver butter dish and knife, and silver jam dish and spoon; Miss M. and A. Short, teapot, cheese dish, and tumblers; Mr and Mrs J. Anderson, butter dish; Miss Williams, pen tray; Miss Griffiths, vases; Mr I. Hill, cheque; Miss Wild, biscuit barrel; Mr, Mrs and Miss Brown, trifle bowl and crystal jug; Mrs Weller, water jug and glasses; Mrs Hadfield, pair glass dishes and butter dish; Mr and Mrs Blackney, photo frames; Mr Wilson, beaded basket pin cushion; Mr Linsy, cheque; Mrs Linsy, fruit dish; Mrs Stebbing, pair candle sticks; Mrs Blanchard, pictures.Digital copy of framed sepia photographanderson, bird, blanchard, blackney, bunker, collins, cooper, edward ernest pepper, george bird, george bird jnr, gilsenan, griffiths, hadfield, hill, jones, kerwin, kidd, kilpatrick, linsy, mills, nelson, sarah ann bird, sayers, shillinglaw, short, stebbing, sutton, sweeney, view hill, wedding, weller, wild, wilkinson, williams, wilson, brown, lesley mitchell (nee pepper) collection

Married Charles Aldous 9 Jun 1880. In this picture Sarah does not appear with a wedding ring. Inscribed on reverse with errors [actual] B. 9 Nov. 1855 [9 Nov. 1854] M. 9 Jun. 1880 [Charles Aldous] D. 25 Jan. 1925 aged 71 [ 3 Aug. 1925] ALDOUS.—On the 3rd August, at her residence, 14 Mitchell street, Northcote, Sarah, dearly be- loved wife of Charles, mother of Florrie (Mrs. Beere), Annie (Mrs. Mooney), Percy (deceased, late A.I.F.), Ada (Mrs. Wilson), Alice (de- ceased), Ethel (Mrs. Brien), aged 70 years 9 months. A patient sufferer at rest. Family Notices (1925, August 4). The Argus (Melbourne, Vic. : 1848 - 1957), p. 1. Retrieved December 6, 2022, from http://nla.gov.au/nla.news-article2150744 Davies & Co (William Davies) operated from: 7 Bourke Street East 1867-1869 55 Bourke Street East 1874-1877 55 Bourke Street East as Central Photogrphic Studio (E. Sands Mgr) 1878-1884 73 Bourke Street East 1877 91 Bourke Street East 1864-1868 94 Bourke Street East 1864-1877 98 Bourke Street East 1860-1861 19 Collins Street East 1865-1868 5 Collins Street West 1866-1870 CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, 1860-1877, 1870, davies photographer melbourne, pagoda sleeves, sarah aldous (nee shillinglaw 1854-1925), shillinglaw family photo album 2

Reproduced on p31 of 'Pioneers & Painters' Was destroyed in 1962 bushfire. Now Peter Franks Reserve, St Andrews On Friday 29th (August 1919) …, the Hon. S. Barnes, M. L. A., Minister of Mines, accompanied by Mr W. Everard, M.L.A., Mr. V. Dickson, secretary for Mines, and Mr. Merrin, Chief Mining Inspector, visited Smith's Gully for the purpose of opening, the new Government battery which has recently been erected. The party arrived punctually at 12.30, and was received by an assemblage of about 200 residents, including, those representing local prospecting and mining interests. At the mill house the Minister wished prosperity to mining on the old Queenstown field, and, in a few appropriate remarks, gave the battery the name of St. Andrew's. Then, as the stamps began to fall, three hearty cheers were given by the gathering. ….. The Queenstown field, dating back to the early sixties, might be regarded as a link that took them back to the Augustine age of gold mining in Victoria…From 1868 to 1918 the total yield of gold from the field was 274,606 fine oz. It might be that here, as elsewhere, deeper prospecting would give new life to the Queenstown goldfield. The miners of Queenstown, who through long year's had never lost faith in the possibilities of the field, felt that the purpose for which they were that day marked the beginning of a new era in the history of local reefing. …. The new mill is situated on the bank of the creek opposite the Queenstown Cemetery, and consists of a five head battery (Berdan pan) and 12 h.p. portable steam engine housed in a spacious structure of wood and iron. A concrete weir across the creek provides a good water supply, and all the necessary pumps, settling dams, etc., have been installed. Later on, should circumstances warrant it, it is pro-posed to erect Wilfley tables for concentrates. Eltham and Whittlesea Shires Advertiser and Diamond Creek Valley Advocate, Friday 5 September 1919, page 3This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg Print 20 x 25 (2)shire of eltham pioneers photograph collection, queenstown, st andrews, st. andrews battery, gold mining, s. barnes, merrin, st andrews battery, v. dickson, william h. everard, peter franks reserve

Levy Sons & Co. 1895-1919 Paris, France and London, England In 1864 the Parisian photographic studio of Ferrier pere*, fils & Soulier was bought out and became M. Leon & J. Levy. This partnership lasted until 1872 when Leon left and it was renamed J. Levy & Co., which became an important producer of stereo-views and lantern slides. By 1895 his sons had joined the company and it was renamed once again to Levy Sons & Co. (or Levy et ses Fils). His son Lucien became a well known photographer who began publishing international view-cards from his own work depicting scenes mostly from within the French empire, though quite a number are from England and there are some from Australia and Russia as well. There are few French towns that are not captured by his cards. His name does not appear on the cards but - L.L. follows the title as a photo credit. Many of their cards are not attributed. These cards were printed as colotypes in black & white, sepia, and over speckled color lithography. In 1920 the studio united with Neurdein Freres to become Levy & Neurdein reunis. Their negatives are now owned by the Roger-Viollet Photographic Agency. *Claude Marie Ferrier (1811-1889) was also an important early photographer. He was the 'Pere' in Ferrier Pere, Fils & Soulier - best remembered for their stunning series of glass views. Sorting this collection is a challenge. The postcard rears display a variety of forms - a) garland emblem with LL inside, b) with an addition emblem within (FPS?). Or c) - no emblem which may mean production by another company - however LL. remains on the front as a credit to the photographer. http://www.metropostcard.com/picslogos/pcl-levylucien.jpg.jpg http://www.unpi.com/clem/unpostcards/LON1919PC2Naback.jpg Example Colour Card circa 1920 No. 78 Paris - L'Escalier de l'Opera - LL. http://www.postcardcollector.org/forum/index.php?p=/discussion/1306/levy-fils-cie-paris-specifically-lucien-levy-llAbbeyville was a town in the Somme, so that this is a possible reason that the name has been erased on the postcard. http://www.france-voyage.com/travel-photos/abbeville-11435.htmSmall brown covered book of 12 postcards with views of Abbeyville in the Somme. Issue between each each individual postcard. The cover has an oval on front and the name "Abbeyville" in its centre has been erased. The name of the town has also been erased (censored) throughout the booklet. There is a garland in maroon around the maroon oval on the front cover. Print in dark grey on bottom left and right hand side corners.Print "Modele ... Depose" in dark grey on bottom left and "12 Vues Detachables" on right hand side corners. Names of places printed inside but the name of the town has been erased throughout. "Carte Postale" with logo underneath at centre and "Correspondence" LHS and "Adresse" RHS on top of verso of each postcard in booklet. "Levy Fils & Co, Paris sideways along centre line of postcard on verso.abbeyville, levy fils, postcard, vues, panorama, place de l'amiral-courbet, monument, rue alfred-cendre, alfred-cendre street, statue, saint vulfran church, saint gilles church, museum, prarona statue, avenue de la gars, avenue of the station, chevalier de la barre, river somme, somme, talence bridge, correspondence, carte postale, censor, censored

This letter was written by Henry Davis, editor of the Warrnambool Standard, to Joseph Archibald, curator of the Warrnambool Museum. Dated 11 October 1883, it refers to Davis’s recovery of a saturated volume of ‘Longfellow’s Poems’ from the sea at Loch Ard Gorge. The retrieval of this book, and its possible connection with one of the survivors from the LOCH ARD shipwreck in 1878, prompted Archibald’s letter of 1 December 1883 to Eva Carmichael, and Eva’s reply of 21 January 1884 (No, it was not her book). Miss Carmichael’s reply to Archibald’s inquiry (2290.4) and the water-damaged book itself (541) are both in the Flagstaff Hill collection along with this letter from Davis, which connects the two. The Davis letter reads: “Dear Sir, ― This book was found by me in the waves which broke on the sands [….] the Gorge where Tom Pearce rescued Miss Carmichael after the wreck of the ill-fated ‘Loch Ard’. I ran in with the receding waves and picked up the soddened volume, and, coincidentally, the first illustrations that met my gaze, on parting its dripping pages, was that portraying the fair maiden in the ‘Wreck of the [Hersperus’.] On the Bluff, 200 feet above me, were the dead forms of Mrs and one of the Misses Carmichael, whilst [by] them, stiff and [….] were two gentlemen passengers [by] the wreck[ed] [v]essel]. Having just left them before [….] [my] capture in the Gorge, you may imagine [m]y feelings on alighting upon, under such circumstances, Longfellow’s beautiful and sympathetic poem. Yours truly, H.W. Davis.” The book referred to here is The Poetical Works of Henry Wadsworth Longfellow, 1877, Nimmo, London. It is on display under glass in the Great Circle Gallery at the Maritime Village, alongside a typed transcript of the Davis letter. A 1996 audit of the rare book collection at Flagstaff Hill notes: “Inscribed ‘Loch Ard June 1 1878’ in pencil within ― believed to be a salvage from the shipwreck”. The letter is connected to the salvaged items from the 1878 LOCH ARD shipwreck, which is of State significance ― Victorian Heritage Number S417Letter from H. Davis, editor of the Warrnambool Standard, to J. Archibald, curator of the Warrnambool Museum. It was handwritten in ink on “Standard Office, Warrnambool” letterhead note paper, and dated 11 October 1883. The cursive script appears carelessly written and the original single sheet of paper is in poor condition (torn and creased). At some stage the original document has been backed with stiff cardboard and then sealed in a clear plastic cover.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, loch ard, longfellow’s poems, eva carmichael, joseph archibald, henry davis, warrnambool standard

TROVE : Port Philip Gazette and Settler's Journal (Vic. : 1845 - 1850) Saturday 21 April 1849 p 3 Advertising 'On MONDAY, 23RD INSTANT, (WITHOUT RESERVE,) at 12 o'clock, AN INVOICE of Drawings, Prints, Crayons, Portraits, coloured Figures II M. Ships '"Vindictive," "Victory," "Pomona," ''Vanguard," " Carysfoot," " Magicienne," &c., coloured ; the Channel Fleet, Jenny Lind, and a large quantity of Engravings. Three hundred volumes Books, comprising Novels, History, Poetry, School Books, &c., &c., &c. A large quantity of assorted stationery consisting of boxes of India rubber bands, pens, show cases, fancy wafers, satin note paper. One cask Stephen's Fluid Ink, in pints and half-pints. Terms— Cash'. TROVE : The Argus (Melbourne, Vic. : 1848 - 1957) Tuesday 27 March 1956 p 2 Advertising 'PUBLIC NOTICE TO BOTTLERS, BOTTLE DEALERS. Etc., RE PROPERTY BRANDED BOTTLES WHICH ARE NOT SOLD The undermentioned Firms and Companies,' carrying on businesses at Sydney and elsewhere, HEREBY GIVE NOTICE that all Bottles delivered by them to their customers having: a notification moulded thereon (including bottom) that they are, or remain the property of. the Firms and Companies mentioned below ARE NOT SOLD WITH THE CONTENTS THEREOF BUT REMAIN THE PROPERTY OF SUCH FIRMS AND COMPANIES. Such Bottles are loaned solely for the purpose of enabling the contents to be delivered to purchasers from the said Firms and 'Companies and to all subsequent purchasers of the contents. As soon as the Bottles are emptied of their contents they must not be refilled destroyed, damaged, or used again for any purpose, but must, on demand be delivered up to the Companies or Firms whose names are moulded thereon or to their Accredited Agents: BUTLER & NORMAN PTY. LTD., MANDIBLE STREET. ALEXANDRIA, N.S.W. The remuneration received by Collectors, Dealers, etc.,- is simply an allowance for the safe custody and collection of the Bottles LEGAL ACTION WILL BE TAKEN AGAINST ANY PERSON OR COMPANY VIOLATING THE PROPERTY RIGHTS OF THESE FIRMS OR COMPANIES' BRANDED BOTTLES. ABC Mop Co.......................Stephens Ink (Australia) Pty Ltd.......................'.Squat round clear glass ink bottle with embossed text on heel at base and monogram on base'PROPERTY OF STEPHENS INKS AUSTRALIA LTD' on heel of base. Austrralian Glass Manufacturers monogram on base with embossed illustration of a feather quill.ink bottle

Vietnam War veteran An enthralling account of an Australian infantryman and his companions in the Vietnam War. On Friday 8th March 1968, 20-year-old Gary McKay lost the lottery. He was conscripted. From a comfortable and carefree life of surfing and rugby football, he was drafted into the deadly serious preparation for war in the jungles of South Vietnam. In Good Company is his story told in his own words. It begins with induction and selection for the officer academy for national servicemen at Scheyville, a six-month 'pressure cooker' course which produced second lieutenants ready to lead troops into action against the Viet Cong. It ends three and a half years later with a burst of NVA machine-gun fire during a battle among enemy-held bunkers in the hills of Nui Le. Here is a grass-roots account of the blood, sweat and tears shared by a rifle platoon in jungle warfare, a straightforward story of the fears and the camaraderie which soldiers experience in combat. Gary McKay fashioned this account from his experience in action, leading his platoon. The detail is provided from the 80 letters he wrote to his wife while he served. He wrote his story for the reader who wants to know what the soldier on the ground went through - in the fetid jungle, in battle. Anyone who wants to understand what service in South Vietnam meant to those who were there should read this book. 'Reading In Good Company leaves a vivid and disconcerting impression of how the Vietnam War smelt, felt and sounded. One of the most honest and affecting war memoirs which Australians have so far published.' - Mark Thomas, Canberra Times 'An enthralling, accurate account of infantry soldiering in the Vietnam era. Very readable; a must for those who have never experienced combat and a vivid reminder for all veterans.' - Major General M. P. Blake, AM, MC, former CO 5th Battalion RARGary John McKay MC (born 1947) is a writer and former Australian Army officer. He was awarded the Military Cross while serving with the 4th Battalion, Royal Australian Regiment during the Vietnam War.[1] He later served as Commanding Officer of 8th/9th Battalion, Royal Australian Regiment between 1988 and 1990Soft cover non fiction book

The Box Hill Reporter noted on 22 January 1926 that at the monthly meeting of the Surrey Hills Progress Association the Secretary reported that “the ground had been purchased for the Boy Scout Hall, that plans had been prepared, and accepted by the building committee. As soon as the timber was available the work would be proceeded with. The Boy Scout Hall movement has been taken up by the association to try to secure a permanent meeting place for the boys of the district. Up till now they have no fixed place, nor have they had a qualified scout master. Mr. Bert Chenu, one of the committee, has been appointed to that position, and is carrying out his duties energetically. Having raised enough money to purchase the land (situated in Robinson's road, Surrey-Hills near the Drill Hall) the association's committee is now about to erect the building by means of properly organised working bees.” The Association organised markets, card evenings and dances to raise necessary funds. The volunteer labour included the parents of boys who had become scouts, led by builder Robert Hayes of 186 Union Road and his son, who was also a builder. Early ownership is unclear as it is believed that it was not purchased by the scouting movement until 1955. The hall was used by other groups as well as the scouts. Benmont Kindergarten operated on the site from c1930. This is confirmed by oral testimony, Sands & McDougall entries and the Alan Hold property register (part of the SHNC Heritage Collection.) It was also used as a ballet school and for local dances. The hall was situated on a small block of land, just 410 sq m, and in late 2019 it was put up for sale by Scouts Victoria. Most recently home to 1st Boroondara Scout Group and previously 11th Camberwell Scouts, it was sold for something near $1.3M. During May 2020 the modest hall was demolished. Items of significance were removed before the sale by Scout Heritage. A black and white photograph of a building with a small sign identifying it as 11th Camberwell Central Scout Group.robinson road, surrey hills, scout halls, scouts, buildings, structures and establishments, (mr) robert hayes, union road, builders, surrey hills progress association, benmont kindergarten, dances, ballet schools

Jocelyn Hall indicated in notes that the gentleman could possibly be an estate agent. This was confirmed by a grandson of the original owners. (REF: Email 1/8/2020) The original photos is thought to have been a publicity photo for the real estate agency. Carl Theodore Offszanka (1874-1944) was born in Germany. He is listed in electoral rolls at 44 Guildford Road from 1915, occupation furrier, with his wife Ida (nee Schade, 1882-1963), also born in Germany. They were married in Victoria in 1908. In later electoral rolls at the same address are Erna Helena (b 1913; d 1996) and Maria Eliese (b 1910; m Benedict Francis Rieusset in 1936). Both daughters are listed as typists. Also listed is Bernard George (b 1914; d 1987) who in later electoral rolls is described as a process worker. He served in the AIF in the Second World War. Not listed is Carl Bernard b 1909. The Offszanka family lived at 44 Guildford Road from 1913 until post-1980; they came to Surrey Hills from Richmond. Their home was called 'Westfalia' (ref: 1919 electoral roll), presumably after the region in NW Germany. It is not known when Carl and Ida migrated from Germany. This home has had a 2nd storey added to it in late 1990s. According to a family descendant (REF: Email 1/8/20 from grandson) Carl Theodor Offszanka purchased the home in 1913 for £616. He also purchased the adjoining vacant block of land at 42 Guildford Road and ran a large orchard on it before later selling it. This appears to have been between 1920-1930. The family continued to occupy the house until after 1980 when Erna Helena and Bernard George are listed in the electoral rolls. Our property register lists Erna Helena Offszanka as the last member there. She died on 5 May 1996. The Offszanka family occupied this home from its beginning for over 70 years. Such long-term occupancy by one family is unusual.Black and white photo of a ? dark-stained timber Edwardian home at 44 Guildford Road, Surrey Hills. A hooded buggy is located in the rough driveway at the side of the house. A gentleman in a hat and with a moustache is seated in the buggy. A tall building can be seen in the far distance and a street leading up the hill from Canterbury Road.edwardian style, houses, guildford road, horse drawn vehicle, carl theordore offszanka, miss ida schade, mrs ida offszanka, miss edna helena offszanka, miss marie elsie offszanka, mr bernard george offszanka, estate agent, mr carl bernard offszanka, westfalia

The first Bank of New South Wales building in Wodonga was located in a small cottage. The branch opened on 7 May 1872. At first it was conducted as an agency of the Beechworth branch. In October 1872 premises in Sydney road were purchased from Mr P. L. M. S. Chauncy for £650. When the bank commenced in the cottage the first account was opened in the name of Hillerman & Co, storekeepers, Wodonga. Another early account was in the name of William Huon, squatter of de Kerilleau, Wodonga. On 9 July 1873, the agency was converted into full branch under the management of Mr. Joseph Belcher. Other early accounts included Cronin & Callaghan, storekeepers; John Bassett Jnr, shoemaker; John Jennings, contractor; Ah Soon, tobacco grower, Kergunyah; John de Corney Ireland, collector of customs; Andrew Kyle, fellmonger; Rowan Lockhead, accountant; Alexander McKay, publican; George Pollard, farmer; Thomas Street, farmer; and Edmund Uren, gentleman, Buninyong. Organisations banking at the branch included Wodonga Building Society, 1873; Wodonga Mechanics Institute 1875; Wodonga Band Fund 1882; Talgarno Athenaeum, 1888; Talgarno Butter & Cheese Factory 1892; Wodonga Federation League 1893; Wodonga Brass Band 1895; Wodonga Benevolent Society 1895; Wodonga Fire Brigade 1897; Wodonga Rifle Club and Wodonga Racing Club in 1899 and Kiewa Polo Club in 1900. There were also numerous lodge and church accounts. The cottage was later renovated with a porch added in 1889 and an extension to the residence in 1898. The original house was eventually demolished to make way for a new bank and manager’s residence in Sydney Road in 1906. That building was again remodelled in 1969. It became a branch of the WESTPAC bank when the Bank of NSW and CBA Bank joined to become the Westpac Banking Corporation in 1982. After the building ceased operation as a bank, it has been the home to several businesses including a video store, a travel agency and a clothing store.These images have local significance as they record changes to a building which filled an important role in the commercial life of Wodonga.A series of photos both black and white and coloured which document changes in the former Bank of New South Wales building in Wodonga over time.Photo 1: On sign above verandah "BANK of NEW SOUTH WALES" Photo 2: On sides of building and above door: "BANK OF NEW SOUTH WALES" Photo 3: Above door: "HIRE/ VIDEO MADNESS/ SALES" Photo 4: Above door: "WODONGA TRAVEL"wodonga businesses, banking wodonga, bank nsw wodonga, businesses high street wodonga

This postcard folder contains lithographs of photographs taken locally by Georg Rose between 1880 and 1942. He reproduced them at his company's premises, the Rose Stereographic Company at Armadale, Victoria. The postcard folder was purchased as a Warrnambool souvenir by the donor's parents around 1945 to 1950. Interestingly, the city on the cover is printed as "Warrambool", which is a location in New South Wales, but the postcards within all have the locations and text of Warrnambool. The photographs include the 'new' concrete bridge, built in 1922 to replace the original bridge, built in 1872. The boathouses belonging to Proudfoots and to Flett/Fanny Nelson are also pictured on the Hopkins River mouth. The twelve photographs included locations connected to other items in our Collection. The photographs are titled: - b. The Avenue and War Memorial. Warrnambool. Vic. c. The Blow-hole. Thunder Point. Warrnambool. Vic. d. Botanical Gardens. Warrnambool. Vic. e. Eagle Rock. Warrnambool. Vic. f. The New Concrete Bridge and Breakwater. Warrnambool. Vic. g. Liebig Street. Warrnambool. Vic. h. Looking to Thunder Point. Warrnambool. Vic. i. The Beach. Warrnambool. Vic. j. Hopkins Falls. Warrnambool. Vic. k. Shelly Beach. Warrnambool. Vic. l. The Mouth of the Hopkins River. Warrnambool. Vic. m. Panorama of Warrnambool. Vic. [Kepler Street towards Presbyterian Church on Spence St] George Rose, 1861-1942: - famous for his Late 19th and early 20th century photography. He was born in Clunes, Victoria, and was in his 20th year when he founded Rose Stereograph Company in 1880. He took the opportunity of a popular trend of the times to produce stereographs, pairs of almost duplicate photographs which appeared to be in 3D when viewed in a handheld stereo viewer. By the 1920s these lost their popularity, so he used his photographic skills to produce cards and postcards of scenes and people. The photographs in this postcard folder were taken between 1880 and 1942 by the renowned Victorian photographer George Rose. The locations match photographs and postcards in our collection that were taken at different times. A comparison between them shows the changes over time in the land and bay, the buildings and other structures, transportation and even the fashions of the times, building the story of our local history.This copy of a postcard folder has a blue-grey textured rectangular card cover with a sketch of a rose on the front along with the name of the postcard series. the location of the series' focus, the producer's details and lines for adding an address. The folded cover contains a long, concertinaed page with six titled photographs on each side, totalling twelve in all. Interestingly, the cover has the location name of "Warrambool", a place in NSW, instead of Warrnambool, the location of all of the photographs inside. The folder contains scenes from Warrnambool and nearby popular areas including Lady Bay, Port of Warrnambool, Warrnambool Breakwater, Viaduct, Merri River Footbridge, the Hopkins River Mouth, with Proudfoot’s and the Fanny Nelson/Flett boathouses. The cover has a sketch of a rose and inscriptions. The photographs for the lithographs were taken prior between 1880 and 1942 by well-known Victorian photographer, George Rose, Rose Stereograph Company of Armadale, Victoria.Image: [Rose with rosebud and leaves] Printed: "Rose Series / Picturesque Views of / WARRAMBOOL / AUSTRALIA" [correct spelling is WARRNAMBOOL] "PUBLISHED BY / ROSE STEREOGRAPH CO / ARMADALE. VIC." Printed lines (3) for an address. Printed rectangle [ ] for attaching a stamp.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, warramble, postcard, postcard folder, warrnambool scenes, picturesque views of warrnambool, picturesque views of warramble, lady bay, port of warrnambool, breakwater, warrnambool breakwater, viaduct, merri river footbridge, merri river suspension bridge, suspension footbridge, merri river mouth, hopkins river mouth, proudfoot's, fanny nelson, nelson's boatsheds, nelson's boathouse, boathouse, hopkins river boathouses, flett's boathouse, flett, george rose, image of a rose, rose series, rose stereograph co, rose stereographic company, lighograph, armadale victoria, lady bay beach, beach scene, lower light, concrete footbridge, 1922 footbridge, viaduct road, rose postcard, new concrete bridge, 1945, 1890, 1922, small footbridge, 1872 footbridge, 1872, merri river estuary, stingray bay, postcards

Frederick Lloyd Carleton VX1555 served in the 2/23rd Battalion, 9th Division in the Middle East and in the Pacific. The images detail his day to day life at the front and on leave. He served during the siege of Tobruk and at El Alamein, and was a lifelong member of the Bendigo sub-branch of the Rats of Tobruk Association. Refer Cat No 142.7 for his full service history. .01P) Brigadier R.W. Tovell, CBE, DSO & Bar, ED - MID 5 times. He had 5.5 years pre WW1 service in the Cadets, on discharge he held the rank of Lieutenant. Enlisted in the AIF 28.4.1915 age 29 years, appointed Lt 6.7.1915 in 2nd Reinforcements 29th BN. Embark for Eygpt 29.12.1915, embark for France 4.6.1916. He rose through the Ranks in various Commands to Brigade Major by 19.2.1918. Awarded MID24.10.1918, DSO & MID on 23.5.1919, MID on 30.10.1919. Appointment terminated in the AIF on 12.12.1920. Stayed on in the full time Army to be T/Brigader on 14.10.1939 to Command the 10th INF Brigade. Transfers to the 2nd AIF 1.7.1940 No VX46983and appointed to Command the 26th Brigade. Overseas service listed as Middle East 16.11.1940 - 10.11.1942. New Guinea 17.2.19144 - 21.3.1944 & 10.3.1945 - 23.3.1945, Darwin area 8.9.1944 - 19.9.1944. Awarded Bar to the DSO 30.12.1941, MID 26.6.1942 & 15.12.1942, CBE 15.4.1943. Appointed Deputy Adjutant General 3.5.1944, appointment terminated in the 2nd AIF on 20.12.1945, placed on the Reserve list of Officers with the rank of Colonel & Honorary Brigadier. Lt Col Evans VX478119. Bernard Evans had service going back to 1924. Enlisted in the 2nd AIF on 22.7.1940. His overseas service is listed as Middle East 16.11.1940 - 30.3.1943 - New Guinea 20.7.1943 - 10.11.1943, discharged fro m the AIF on 22.10.1945 with the rank of Colonel, awarded the DSO. .02P) Believed to be Benjamin Thomas Shiels VX58180, enlisted 24.6.1941, embarked for the Middle East 3.9.1941, KIA 29.10.1942. Joe Harrison is not yet identified. Collection of 76 photographs taken during service in 2/23rd in Middle EastSome photographs have inscriptions on the verso, and this information is included in the title information displayed when the image is clicked on.2/23rd battalion, tobruk, el alamein, western desert campain, fred carleton

Castlemaine State Festival, Castlemaine. 2 November 1990. Programme. From the Chairmen - Mr Bereck Segan. Melbourne Committee: B R Segan, O.B.E. (Chairman), M Besen, A.O. (Deputy Chairman), Mrs H Dore (Hon. Sec.), C Anzarut, N Bourke, Ms M Coillet, Prof. C Duckworth, G Fairfax, A.M., K MacKenzie-Forbes, A.M., Mrs B Margetts, Dr F R Moulds, I.S.O., R Nordlinger, J Parker, M.B.E., A Porter, Ms M Prendergast, C Pyett, Ms D Reilly, Mrs, Ms L Schiftan, P M Schiftan, D Segan, B J Stewart, Ms S Walker, Dr R Wlikie. Melbourne Committee: I O'Halloran, (Chairman), Mrs M Rilen (Hon.Sec.), Miss R Wood (Treas), Mrs L Bennet, Mrs M Bock, S Cox, Cr T Daniell, Mrs H Griffiths, B Heydon, N Jennings, Mrs C McKellar, Miss M Oliver, L O'Toole, F Ransome-Smith, J Shortal, Dr D Silver, Mrs V Victor-Gordon, Mes E Warren, Miss L Waters. Welcome to the 1990 Castlemaine State Festival. As one festival closes, planning for the next commences immediately.. . Mr Ian O'Halloran, Chairman, Castlemaine. Castlemaine State Festival Administration, Festival Manager: Phee Broadway, Manager's Assistant: Mary Harris, Technical Manager: Lis Pain, Drawing Prize Co-ordinator: Bev Singleton, Farnham Concert Co-Ordinator: Noel Jennings with Victorian Rock Foundation. Event Listings: Opening by Hon. Jim Kennan M.P., Deputy Premier and Minister for the Arts Castlemaine Stadium. Melbourne Symphony Orchestra, Conductor - Hiroyuki Iwaki, Soloist - Dong -Suk Kang. Royal Variety Club Grand Final Theatre Royal, Town Crier Mr Neville Stonehouse. Kilmna Wildflower Walk. 'Melbourne: Architecture Today and the year 2000' Professor Peter McIntyre, A.O. Wine tasting. Selected Antique Fair. Organ Recital, organist Michael Bottomly. Mickleford Tour. A Closer Look at Castlemaine, Castlemaine Historical Society. 'Local Brew' Love Letters by A R Gurney, Starring Julia Blake and Terry Norris Directed by George Fairfax A.M. The Noel Watson Show. John Pringle and Miriam Gormley sing Operatic Gems with the Rantos Collegium and conductor Nicholas Braithwaite. The Incredible Shrinking Mortgage Show', Pat Wilson and Adrian Barnes. Festival Nightcap, Mr P P an acrobatic delight. Breakfast with Potts in the Park. A Stroll Around Town, Historical Society guide. Gardens Open. Selected Antique Fair. Festive Family Fun, musician Natasha Moszenin, Fratellini Brothers, Tim Hurley, Wally Fair Ground Organ, Foundry Band, Megan Jones, Mr P P. A guided Tour, Mrs Marjorie Rilen. Goetz Richter - Violin, Jeanett Carrigan - Piano. 'King Lear', Berenice Kavanagh and Suzanne Kersten. The Chagell Ensemble, Rita Reichman, Piano, Semmy Stalhammer, Violin. Trevor Jones, Viola. David Pereira, Cello. Steven Reeves, Double Bass. 'The Incredible Shrinking Mortagage Show' Pat Wilson and Adrian Barnes. Festival Hymns. 'Recital' Hellen Noonan, Douglas Horton, David Chesworth, Jacqui Everett, Jude Gunson. Music for Flute and Piano, Dereck Jones - Flute, Jeanell Carrigan - Piano. 'Brass With Class' William Evans - trumpet, David Farrend - trumpet, Russell Davis - french horn, Ken McClimont - trombone, Eric Klay - bass trombone. Piano Recital - Richard Mapp. Chris Ludwick's Society Synocopators - Cup Eve Cabaret, Chris Ludowyk - trombone, Peter Gaudion- Trumpet, Richard Miller - reeds, Pip Avent - tuba, Cal Duffy's - drums. 'Cup Eve Comedy' Rachel Berger and Richard Stubbs. Festival Nightcap Mr P P. Botanical Gardens Tour Kevin Walsh. Alice's Adventures in Wonderland Glenn Elston. By arrangement with Feipp and Park Projects and Elston, Hocking and Woods Pty Ltd. Family Concert, Piano for 4 hands Jocelyn Abbott and Richard Mapp, actor Justin Shortal. Cup Day Sports Carnival. Fashion Parade, luncheon available at Georgians in George Clark Place. The Melba Trio, Carolyn Hayes - Oboe, Jane Stacvy - cor anglais, Seng Tong - Oboe. 'Images' Prudence Davis - flute, Jeffrey Crellin - oboe, Peter Lynch - guitar. 'Sounds in Time' Andree Cozens - soprano, Berenice Kavanagh - words, Dudley - Simons - piano, John Snowden - Guitar, Peter Taylor - Set design & lighting. 'Music for Celestial Voices' Laurence - Jenkins - organ, Mary Anderson - harp, Margot Anderson - harp, Margot Cory - soprano. 'Proms for Preps' Nehama Patkin. Organ Recital Keeith Bottomley. Kaweka Walk, Kaweka Reserve Committee. 'Camille Claudel'. The Tudor Choristers Musical Director - John O'Donnell. 'Something for Everyone' Nehama Patkin - piano, guitar and voice, Peter Clinch - saxaphone and clarinet, major Australian Orchastras. 'The Dock Brief' & 'What Shall We Tell Caroline' Neville Stonehouse, Kay Barker, David Bickart, Angela Walter. 'Bluebeard' The Rag & Bone Theatre Company. Poedijono and the Javanese Gamelan, Poedijono (Teacher), musician, dancer and puppeteer. Botanical Gardens Tour, Kevin Walsh, horticulturist and garden writer. 'Music through the Ages' 'Pizzicato' - classical guitar ensemble, Castlemaine Courthouse, Bruce Millar, Meryl Wilkinson, Greg Wilkinson, Greg James, Joan Maher, Danny Silver. Bach and Vivaldi - Elysium Ensemble Greg Dikmans - Art Director, flute & recorder, Julie Hewison - violin, Lucinda Moon - violin, Janet Ferandez - viola, Miriam Morris - cello, Rosemanry Westbrook - double bass, John O'Donnell - harpsichord. 'Handle by Candle' Laurence Jenkins. Sarah Grunstein at the Piano, Sarah Grunstein. 'Let the Children Sing' Castlemaine Children's Choir, director Michael Bottomley, soloist Peter Bottomley. 'Made in Australia' Phillip Day, Bruce Waston, & 'Twankydillo'. The Dancers Company of the Australian Ballet, Les Sylphides, Dame Peggy van Praagh, Sir John Betjeman, Robert Ray. 'The Wooden Child' Handspan Theatre, Douglass Horton, Ken Evans, Andre Greenwell, Peter J Wilson, Philip Lethean. Botanic Gardens Tour Kevin Walsh. Divine Accidents and Heavenly Venues' William (Bill) Akers, A.M., Director of Productions, Australian Ballet. Jazz at the Jail. Another Stroll round Castlemaine, Historical Society. Muckleford Tour, Naturalists Club. 'Sketches' The Argus Guitar Quartet, Jochen Sxhubert, Tania Ravbar, Samantha Tout, Chi Ly.Scores for Instruments and Voices, Phylis Bachelor. Fred Shade, flute; Mara Miller, Violin; Len Vorster, piano; Loris Synan, soprano; and the students of the Faculty of Music, Melbourne University. Music for Four Hands at One Keyboard, Jocelyn Abbot and Richard Mapp. Paul Grabowsky and the Groovematics, Paul Graboesky, piano. Andrew Gander, Drums. Doug de Vries, guitar. Bob Venier, Trumpet, Flugelhorn. Ian Chaplin, saxophone. Garry Costello, double bass. Shelley Scown, vocals. 'My Most Loved Songs' David Bickart - Basso. Chapliapin, McEachern, Pinza, Robeson, Dawson. A Stroll Around Town, Historical Society. Breakfast at Buda. Garden Open. Festival Eucharist, choir and orchestra Directed by Kevin Bottomley. Music, Madness, Magic. Itchy Feet Pep Band, 'Sound Steppers', 'Legs on the Wall', Andrew Elliot, Antebodies. A Guided Tour of Angligan Parish Church. John Farnham in Concert, The Chain Reaction Tour. John Farnham. Exhibitions: Aspects of France: The Australian Artist's View. Artsits include John Russell, Lloyd Rees, David Davies, John Dent, Eric Wilson, E Phillips Fox, Ethal Carrick, Rupert Bunny, Max Meldrum, Will Ashton, George Bell and others. Annemieke Mein: Embroidery and Applique. Castlemaine Artists Incorporated 6th Biennial Exhibition. Dominique Segan Castlemaine State Festival Drawing Prize 1990. 'Provocative Pieces'. 'Feathered Friends' Barbara Muir. Through the Looking Glass. Handmade - For Pleasure, Julie Cook - dolls and puppets; Traude Beilharz - hats; Gwen Cook - embroidery; Erika Beilharz - woven pieces. 'High Art' students of Castlemaine. 'Works in Wood' Laurie Vella. Old Telegraph Station, Pioneers and Old Residents Association, Jubilee booklet on sale. Studio Exhibition, Juliana Hilton: Prints, paintings decorated screens and furniture. Val Restarick: Pottery and outdoor planters. 2nd Biennial Ernest Leviny Commemorative Silver Exhibition, leading contemporary silversmiths; Hendrick Foster, Tony Kean, Mike Wilson, Flynn Bros, Andrew Last, Mark Edgoose, Peter Gerter, Beatrice Schlabowsly, Marian Hoskings, Karyn Kirby, Chris Sherwin, Peter McBride, Fran Allison. Ray Stanyer - Ceramic Paintings. Norman Anderson - Water Colour Studies. 'Australian & Baroque' David Terry. 'Mediterranean Images' Val Restarick. Framing Shop, Brian Harding. Exhibition of Women Artists, Liz Caffin, Mary Quinlton, Debra Watkins, Lorraine Le Plastrier. Maine Images, Jacki Bickart, Valarie Blake, Sue Breeney, Kate Burtchell, Janet Chapman, Diana Davidson, Betty Hall, Deidre Hull, Molly Maddox, Norma McKenzie, Beth Oag, Rhyll Plant, Michell Phillipson, Diane Thompson. Ceramics, Ian Drumond. 'The Esplanade of Palms' (Brickworks Exhibition), John Wilkins. Han Built Pottery, George Butcher. Hollis Gallery, Richard Hollis, Kathy Hollis. 'End of an Era', Castlemaine Technical College Student Exhibition. 'Building A Country', Commissioned by the Latrobe Library, the Australian State Library of Victoria. The Festival Exhibition. 'Colour - Three Way's, Alice Clague, Geoffrey Clague, Howard Tozer. Tonal Oil Painters and Tapestry Exhibition by a group of local artists, Albert Pollard, Shirley Anderson, Valerie Blake, Ivy Brown, Marjorie Byrne, Janet Chapman, Frances Cree, Colleen Hall, Loretta Harris, Phyllis McClure, Lorraine McDowell, Norma McLean, Margaret Maher, Winsome Morrat, Jean Perry, Martha Phillips, Alison Ross, Norma Sneddon, Val Story, Irene Szabo, Jean Wells, and Alan Winzor. Roma Dodson.'BarleyTwist Cottage', Bill Davies, Linda Long, Fred Kuhnl. Photography Exhibition: Faces and Souls. Children's Books and Illustrations, Meet the authors and illustrators. Burnett Gallery and Garden, Drew Lawson, photographer of Eaglehawk. Decorated Cakes & Sugar Craft Exhibition, Barbara Porter. Sponsored by Marong Hotel. The Central Victorian Unique Design & Restoration Centre, historical photographs, sketches, etc. Badger's Keep Nursery & Mr Badger's Shop, Margaret Lees, Bill Jackson. Carriage Builders & Restorers. 'Harmonious Inspirations X Four' Kristina Browning, Catherine Tait, Rod Pitt, Lindy McAboy, Castle Mice by Sonia. Historic Cottage, 'Orvil Dean Stud', John and Anne Murdock, Judy Dean. The Heritage of Maldon, Geoffery Stocks. Stanyer's Pottery, Dragon Magic, Annett Annand, Ellan Hansa. 2(two) copies of this program.event, entertainment, castemaine state festival, castlemaine state festival, castlemaine 1990. programme. chairmen - mr bereck segan. committee:b r segan, o.b.e. (chairman), m besen, a.o. (deputy chairman), mrs h dore (hon. sec.), c anzarut, n bourke, ms m coillet, prof. c duckworth, g fairfax, a.m., k mackenzie-forbes, a.m., mrs b margetts, dr f r moulds, i.s.o., r nordlinger, j parker, m.b.e., a porter, ms m prendergast, c pyett, ms d reilly, mrs, ms l schiftan, p m schiftan, d segan, b j stewart, ms s walker, dr r wlikie. melbourne committee: i o'halloran, (chairman), mrs m rilen (hon.sec.), miss r wood (treas), mrs l bennet, mrs m bock, s cox, cr t daniell, mrs h griffiths, b heydon, n jennings, mrs c mckellar, miss m oliver, l o'toole, f ransome-smith, j shortal, dr d silver, mrs v victor-gordon, mes e warren, miss l waters. mr ian o'halloran, chairman, castlemaine. castlemaine state festival administration, festival manager: phee broadway, manager's assistant: mary harris, technical manager: lis pain, drawing prize co-ordinator: bev singleton, farnham concert co-ordinator: noel jennings with victorian rock foundation. event listings: opening by hon. jim kennan m.p., deputy premier and minister for the arts castlemaine stadium. melbourne symphony orchestra, condustor - hiroyuki iwaki, soloist - dong -suk kang. royal variety club grand final theatre royal, town crier mr neville stonehouse. kilmna 'melbourne: professor peter mcintyre, a.o. organist michael bottomly. mickleford tour. castlemaine historical society. love letters by a r gurney, starring julia blake terry norris directed by george fairfax a.m. the noel watson show.john pringle and miriam gormley operatic rantos collegium and conductor nicholas braithwaite. the incredible shrinking mortgage show', pat wilson and adrian barnes., mr p p an acrobatic delight. potts in the park. a stroll around town, historical society guide. selected antique fair. festive family fun, musician natasha moszenin, fratellini brothers, tim hurley, wally fair ground organ, foundry band, megan jones, . a guided tour, mrs marjorie rilen. goetz richter - violin, jeanell carrigan - piano. 'king lear', berenice kavanagh and suzanne kersten. the chagell ensemble, rita reichman, piano, semmy stalhammer, violin. trevor jones, viola. david pereira, cello.steven reeves, double bass. pat wilson and adrian barnes. festival hymns. 'recital' hellen noonan, douglas horton, david chesworth, jacqui everett, jude gunson. music for flute and piano, dereck jones - flute, jeanell carrigan - piano. 'brass with class' william evans - trumpet, david farrend - trumpet, russell davis - french horn, ken mcclimont - trombone, eric klay - bass trombone. piano recital - richard mapp. chris ludwick's society synocopators - cabaret, chris ludowyk - trombone, peter gaudion- trumpet, richard miller - reeds, pip avent - tuba, cal duffy's - drums. 'cup eve comedy' rachel berger and richard stubbs. festival nightcap mr p p. botanicla gardens tour kevin walsh. alice's adventures in wonderland glenn elston. by arrangemnent with feipp and park projects and elston, hocking and woods pty ltd. family concert, piano for 4 hands jocelyn abbott richard mapp, actor justin shortal. cup day sports carnival. fashion parade, lucheon available ar georgians in george clark place. the melba trio, carolyn hayes - oboe, jane stacvy - cor anglais, seng tong - oboe. 'images' prudence davis - flute, jeffrey crellin - oboe, peter lynch - guitar. 'sounds in time' andree cozens - soprano, berenice kavanagh - words, dudley - simons - piano, john snowden - guitar, peter taylor - set design & lighting. 'music for celestial voices' laurence - jenkins - organ, mary anderson - harp, margot anderson - harp, margot cory - soprano. 'proms for preps' nehama patkin. organ recital keeith bottomley. kaweka walk, kaweka reserve committee. 'camille claudel'. the tudor choristers musical director - john o'donnell. 'something for everyone' nehama patkin - piano, guitar and voice, peter clinch - saxophone and clarinet, major australian orchastras.'the dock brief' & 'what shall we tell caroline' neville stonehouse, kay barker, david bickart, angela walter. 'bluebeard' the rag & bone theatre company. poedijono and the javanese gamelan, poedijono (teacher), musician, dancer and puppeteer. botanical gardens tour, kevin walsh, horticulturist and garden writer. 'music through the ages' 'pizzicato' - classical guitar ensemble, courthouse, bruce millar, meryl wilkinson, greg wilkinson, greg james, joan maher, danny silver. bach and vivaldi - elysium ensemble greg dikmans - art director, flute & recorder, julie hewison - violin, lucinda moon - violin, janet ferandez - viola, miriam morris - cello, rosemanry westbrook - double bass, john o'donnell - harpsichord. 'handle by candle' laurence jenkins. sarah grunstein at the piano, sarah grunstein. 'let the children sing' castlemaine children's choir, director michael bottomley, soloist peter bottomley. 'made in australia' phillip day, bruce waston, & 'twankydillo'. the dancers company of the australian ballet, les sylphides, dame peggy van praagh, sir john betjeman, robert ray. 'the wooden child' handspan theatre, douglass horton, ken evans, andre greenwell, peter j wilson, philip lethlean. botanic gardens tour kevin walsh. divine accidents and heavenly venues' william (bill) akers, a.m., director of productions, australian ballet. jazz at the jail. stroll round castlemaine, historical society. muckleford tour, naturalists club. 'sketches' the argus guitar quartet, jochen sxhubert, tania ravbar, samantha tout, chi ly.scores for instruments and voices, phylis bachelor. fred shade, flute; mara miller, violin; len vorster, piano; loris synan, soprano; students of the faculty of music, melbourne university. music for four hands at one keyboard, jocelyn abbot and richard mapp. paul grabowsky and the groovematics, paul graboesky, piano. andrew gander, drums. doug de vries, guitar. bob venier, trumpet, flugelhorn. ian chaplin, saxophone. garry costello, double bass. shelley scown, vocals. 'my most loved songs' david bickart - basso. chapliapin, mceachern, pinza, robeson, dawson. stroll around town, historical society. breakfast at buda. garden open. festival eucharist, choir and orchestra directed by kevin bottomley. music, madness, magic. itchy feet pep band, 'sound steppers', 'legs on the wall', andrew elliot, antebodies. a guided tour of angligan parish church. john farnham in concert. exhibitions: aspects of france: the australian artist's view. artsits include john russell, lloyd rees, david davies, john dent, eric wilson, e phillips fox, ethal carrick, rupert bunny, max meldrum, will ashton, george bell and others. annemieke mein: embroidery and applique. castlemaine artists incorportated 6th biennieal exibition. dominique segan castlemaine state festival drawing prize 1990. 'provocative pieces'.'feathered friends' barbara muir. through the looking glass. handmade - for pleasure, julie cook - dolls and puppets; traude beilharz - hats; gwen cook - embroidery; erika beilharz - woven pieces. 'high art' students of castlemaine. 'works in wood' laurie vella. old telegraph station, pioneers and old residents association, jubilee booklet on sale. studio exhibition, juliana hilton: prints, paintings decorated screens and furniture. val restarick: pottery and outdoor planters. 2nd biennial ernest leviny commemorative silver exhibition, leading contemporary silversmiths; hendrick foster, tony kean, mike wilson, flynn bros, andrew last, mark edgoose, peter gerter, beatrice schlabowsly, marian hoskings, karyn kirby, chris sherwin, peter mcbride, fran allison. ray stanyer - ceramic paintings. norman anderson - water colour studies. 'australian & baroque' david terry. 'mediterranean images' val restarick. framing shop, brian harding. exhibition of women artists, liz caffin, mary quinlton, debra watkins, lorraine le plastrier. maine images, jacki bickart, valarie blake, sue breeney, kate burtchell, janet chapman, diana davidson, betty hall, deidre hull, molly maddox, norma mckenzie, beth oag, rhyll plant, michell phillipson, diane thompson. ceramics, ian drumond. 'the esplanade of palms' (brickworks exhibition), john wilkins.han built pottery, george butcher. hollis gallery, richard hollis, kathy hollis. 'end of an era', castlemaine technical college student exhibition. 'building a country', commissioned by the latrobe library, the australian state library of victoria. the festival exhibition. 'colour - three way's, alice clague, geoffery clague, howard tozer. tonal oil painters and taperstry exhibition by a group of local artists, albert pollard, shirley anderson, valerie blake, ivy brown, marjorie byrne, janet chapman, frances cree, colleen hall, loretta harris, phyllis mcclure, lorraine mcdowell, norma mclean, margaret maher, winsome morrat, jean perry, martha phillips, alison ross, norma sneddon, val story, irene szabo, jean wells, and alan winzor. roma dodson.'barleytwist cottage', bill davies, linda long, fred kuhnl. photogralhy exhibition: faces and souls. children's books and illustrations, meet the authors and illustrators. burnett gallery and garden, drew lawson, photographer of eaglehawk. decorated cakes & sugar craft exhibition, barbara porter. sponsored by marong hotel. the central victorian unique design & restoration centre, historical photographs, sketches, etc. badger's keep nursery & mr badger's shop, margaret lees, bill jackson. carriage builders & restorers. 'harmonious inspirations x four' kristina browning, catherine tait, rod pitt, lindy mcaboy, castle mice by sonia. historic cottage, 'orvil dean stud', john and anne murdock, judy dean. the heritage of maldon, geoffery stocks. stanyer's pottery, dragon magic, annett annand, ellan hansa.

These trousers are part of a Royal Australian Army Ordnance Corps uniform. The Royal Australian Army Ordnance Corps (RAAOC) is responsible for various logistics and organisational operations, such as maintenance of parachutes, fuel distribution, personnel administration, exlosive disposal and laundy operations. The trousers were manufactured in 1969 and were worn by an unknown RAAOC serviceman. The patches on the sleeves of the corresponding jacket denote that he had earned qualifications as a parachuter and a marksman and that he was a Warrant Officer 1. Due to the period of manufacture it can be presumed that the serviceman whom this uniform belonged to served in the Vietnam War.As historic military uniform trousers dating to 1968, it is presumed that this item would have been used in service during the Vietnam War. The wearer of the uniform is unknown, however the patches and flashes attached signify that the serviceman worked for the Royal Australian Army Ordnance Corps, earned qualifications as a parachuter and marksman and ranked highly as a Warrant Officer 1. The item is representative of a type of uniform worn by high ranking RAAOC servicemen during the 1960’s. It is also in very good condition for its age.khaki coloured trousers which are composed of a heavy fabric. The trousers button up at the front with 6 plastic buttons. There is an additional strip of fabric attached to the right-hand fly which can be fastened with an extra button on the interior of the left-hand fly. There are an additional 6 buttons along the interior waistband. There are also three buttons on the exterior waistband down the front and a buckle. The buttons are composed of brown plastic. There are two open hip pockets, one on either side, and another button-up pocket on the right-hand side of the back. There is a white label with inscriptions attached to the interior of the back pocket with an extra piece of fabric attached for mending patches.Printed in black inscriptions on the white label: CONWAY BROS. PTY. LTD ADELAIDE 1969 (a broad arrow) Class 8405-66-025-6183 A W M 7 (these characters are stamped in faded black ink) SIZE & WAIST 33R MATCHING JACKET 37-38R in a box are the words: DRY CLEAN ONLY. Re-press on original seams. Creases set by Si-ro-set. Mending patch attached. (end of box containing words) NAME.....DOCKSEY (‘Docksey is in hand-written black ink) ARMY No.....216308 (numbers also hand-written in black ink) (the number 40 is also wrtten in faded black ink in the top right corner of the label)military, army, raaoc, marksman, royal australian army ordnance corps, parachuting, warrant officer, uniform, trousers

This item is from the ‘Pattison Collection’, a collection of books and records that was originally owned by the Warrnambool Mechanics’ Institute, which was founded in Warrnambool in 1853. By 1886 the Warrnambool Mechanics’ Institute (WMI) had grown to have a Library, Museum and Fine Arts Gallery, with a collection of “… choice productions of art, and valuable specimens in almost every branch and many wonderful national curiosities are now to be seen there, including historic relics of the town and district.” It later included a School of Design. Although it was very well patronised, the lack of financial support led the WMI in 1911 to ask the City Council to take it over. In 1935 Ralph Pattison was appointed as City Librarian to establish and organise the Warrnambool Library as it was then called. When the WMI building was pulled down in 1963 a new civic building was erected on the site and the new Warrnambool Library, on behalf of the City Council, took over all the holdings of the WMI. At this time some of the items were separated and identified as the ‘Pattison Collection’, named after Ralph Pattison. Eventually the components of the WMI were distributed from the Warrnambool Library to various places, including the Art Gallery, Historical Society and Flagstaff Hill. Later some were even distributed to other regional branches of Corangamite Regional Library and passed to and fro. It is difficult now to trace just where all of the items have ended up. The books at Flagstaff Hill Maritime Village generally display stamps and markings from Pattison as well as a variety of other institutions including the Mechanics’ Institute itself. RALPH ERIC PATTISON Ralph Eric Pattison was born in Rockhampton, Queensland, in 1891. He married Maude Swan from Warrnambool in 1920 and they set up home in Warrnambool. In 1935 Pattison accepted a position as City Librarian for the Warrnambool City Council. His huge challenge was to make a functional library within two rooms of the Mechanics’ Institute. He tirelessly cleaned, cleared and sorted a disarrayed collection of old books, jars of preserved specimens and other items reserved for exhibition in the city’s museum. He developed and updated the library with a wide variety of books for all tastes, including reference books for students; a difficult task to fulfil during the years following the Depression. He converted all of the lower area of the building into a library, reference room and reading room for members and the public. The books were sorted and stored using a cataloguing and card index system that he had developed himself. He also prepared the upper floor of the building and established the Art Gallery and later the Museum, a place to exhibit the many old relics that had been stored for years for this purpose. One of the treasures he found was a beautiful ancient clock, which he repaired, restored and enjoyed using in his office during the years of his service there. Ralph Pattison was described as “a meticulous gentleman whose punctuality, floorless courtesy and distinctive neat dress were hallmarks of his character, and ‘his’ clock controlled his daily routine, and his opening and closing of the library’s large heavy doors to the minute.” Pattison took leave during 1942 to 1942 to serve in the Royal Australian Navy, Volunteer Reserve as Lieutenant. A few years later he converted one of the Museum’s rooms into a Children’s Library, stocking it with suitable books for the younger generation. This was an instant success. In the 1950’s he had the honour of being appointed to the Victorian Library Board and received more inspiration from the monthly conferences in Melbourne. He was sadly retired in 1959 after over 23 years of service, due to the fact that he had gone over the working age of council officers. However he continued to take a very keen interest in the continual development of the Library until his death in 1969. WARRNAMBOOL PUBLIC LIBRARY The Warrnambool Mechanics’ Institute (WMI) was formed by a voluntary community group in 1863, within six years of Warrnambool’s beginnings, and its Reading Room opened in 1854. The WMI operated until 1963, at which time it was one of the oldest Mechanics’ Institutes in Victoria. Mechanics’ Institutes offered important services to the public including libraries, reading rooms and places to display and store collections of all sorts such as curiosities and local historical relics. In 1886 a Museum and Fine Arts Gallery were added to the WMI and by the beginning of the 20th century there was also a billiards room and a School of Art. By this time all Mechanics’ Institutes in country Victoria had museums attached. Over the years the Warrnambool Mechanics’ Institute Library was also known as the Warrnambool Public Library the Warrnambool Library and the Free Library. Early funding from the government was for the “Free Library”. The inscription in a book “Science of Man” was for the “Warrnambool Public Library”, donated by Joseph Archibald in 1899. Another inscription in the book “Catalogue of Plants Under Cultivation in the Melbourne Botanic Gardens 1 & 2, 1883” was presented to the “Warrnambool Library” and signed by the author W.R. Guilfoyle. In 1903 the Warrnambool Public Library decided to add a Juvenile Department to library and stock it with hundreds of books suitable for youth. In 1905 the Public Library committee decided to update the collection of books and added 100 new novels plus arrangements for the latest novels to be included as soon as they were available in Victoria. In July 1911 the Warrnambool Council took over the management of the Public Library, Art Gallery, Museum and Mechanics’ Institute and planned to double the size of the then-current building. In 1953, when Mr. R. Pattison was Public Librarian, the Warrnambool Public Library’s senior section 10,000 of the 13,000 books were fiction. The children’s section offered an additional 3,400 books. The library had the equivalent of one book per head of population and served around 33 percent of the reading population. The collection of books was made up of around 60 percent reference and 40 percent fiction. The library was lending 400 books per day. In 1963 the Warrnambool City Council allocated the site of the Mechanics’ Institute building, which included the Public Library, Museum and Art Gallery, for the new Municipal Offices and the Collections were dispersed until 1971. The Warrnambool Library took over the Mechanics’ Institute Library’s holdings on behalf of the Warrnambool City Council. Since the closure of the Warrnambool Mechanics’ Institute the exact location and composition of the original WMI books and items has become unclear. Other materials have been added to the collection, including items from Terang MI, Warrnambool Court House and Customs House. Many of the books have been identified as the Pattison Collection, named after the Librarian who catalogued and numbered the books during his time as Warrnambool Public Librarian in the time before the Mechanics’ Institute closed. It seems that when Warrnambool became part of the Corangamite Regional Library some of the books and materials went to its head office in Colac and then back to Warrnambool where they were stored at the Art Gallery for quite some time. Some then went to the Warrnambool Historical Society, some stayed at the Art Gallery and some were moved to Flagstaff Hill Maritime Village. The various stamps and labels on the books held at Flagstaff Hill show the variety of the collection’s distribution and origin. The books in the collection at Flagstaff Hill Maritime Village date from the 1850’s to the late 1950’s and include rare and valuable volumes. Many of the books are part of the “Pattison Collection” after the Warrnambool’s Public Librarian, Mr. R. Pattison The Pattison Collection, along with other items at Flagstaff Hill Maritime Village, was originally part of the Warrnambool Mechanics' Institute’s collection. The Warrnambool Mechanics’ Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. The Warrnambool Mechanics Institute book collection has historical and social significance for its strong association with the Mechanics Institute movement and the important role it played in the intellectual, cultural and social development of people throughout the latter part of the nineteenth century and the early twentieth century. The collection of books is a rare example of an early lending library and its significance is enhanced by the survival of an original collection of many volumes. The Warrnambool Mechanics' Institute’s publication collection is of both local and state significance. The Warrnambool Mechanics' Institute Collection is primarily significant in its totality, rather than for the individual objects it contains. Its contents are highly representative of the development of Mechanics' Institute libraries across Australia, particularly Victoria. A diversity of publications and themes has been amassed, and these provide clues to our understanding of the nature of and changes in the reading habits of Victorians from the 1850s to the middle of the 20th century. The collection also highlights the Warrnambool community’s commitment to the Mechanics’ Institute, and to reading, literacy and learning in the regions, and proves that access to knowledge was not impeded by distance. These items help to provide a more complete picture of our community’s ideals and aspirations. As with many Mechanics' Institutes in Australia, the one which operated in Warrnambool was established and overseen for many years by key individuals associated with the development of the city itself. The WMI publication collection is historically significant because of its association with local people, places and the key historical themes in the development of Warrnambool of rural development, industry, farming, education, and community. The collection documents and illustrates the changing interests, focus and tastes of Victorians, especially those in regional cities. Generally the individual items in the collection are not particularly rare, as examples of all probably exist in other public collections in Victoria. It is primarily because there are so very few surviving Mechanics' Institute collections in Victoria, which lends this overall collection its significance. Many items in the WMI Collection have the potential to support further research, both as individual objects and through the collection in its entirety. This material is significant for its ability to assist in the interpretation of the history of the area and adds to the general understanding of the development of the township. Many components of the WMI publication collection complement and reinforce the Flagstaff Hill Maritime Museum Collection, the Warrnambool Art Gallery Collection, and that in the Warrnambool Historical Society, and also contribute to a clearer understanding of the original Warrnambool Mechanics' Institute collections. This will greatly enhance the appreciation of the few surviving Mechanics' Institute collections across Victoria, and also in New South Wales. The similarities and differences between the small number of collections that have survived can provide further insights into how the people of Victoria in general, and Warrnambool in particular, constructed a civic culture of adult learning to foster an informed citizenry. The Warrnambool Mechanics' Institute publication collection is of both local and state significance. (This Statement of Significance is quoted from the Significance Assessment : Warrnambool Mechanics’ Institute Book Collection at Flagstaff Hill Maritime Museum, February 2009, by Annette Welkamp, Cultural Connections, for Delise Oldfied, FHMV) References Juvenile Department in Warrnambool Public Library In August 1903 The Age newspaper reported in its Warrnambool news section that “With the object of discouraging boys from reading literature of the “penny dreadful” class, the committee of the local public library has decided to open a juvenile department and to stock it with hundreds of suitable books attractive to the youthful mind.” 100 new novels added to Warrnambool Public Library Shelves In November 1905 The Argue newspaper’s Warrnambool news section announced “The committee of the Public Library is bringing the collection of books more up to date. It has recently added 100 new novels to the shelves, and arrangements have been made for a supply of the latest novels immediately they arrive in the state.” Warrnambool Town Council takes over Mechanics’ Institute, Art Gallery, Public Library, Museum – and will double the building’s size In 1912 The Age reported in its Warrnambool news section “Considerable improvements are being effected by the town council in the most picturesque part of Liebig Street. Between the fire brigade station and the mechanics’ institute and art gallery a vacant block of land is being transformed a garden for carpet bedding and flowering plants. The council, which recently took over the control of the art gallery, public library, museum and mechanics’ institute, is doubling the size of the substantial stone building containing these institutions. The new building will contain a supper room for use in conjunction with functions in the town hall, adjoining, and a new reading room.” Mr Pattison, Public Librarian, says Library has a book per head of population In 1953 The Age reported an interview with the Public Librarian, Mr. R. Pattison, who said “Warrnambool has an insatiable thirst for reading. And its reading recipe contains a strong dash of fiction – 73 percent of it. Fiction makes up 10,000 of the 13,000 books in the senior section of the public library. That works out at a book per head of population. Warrnambool today is really book minded. This city has an almost insatiable thirst for knowledge as well as fiction. We’re lending 400 books a day. We supply 33 percent of the reading population of Warrnambool.” The reporter goes on to say “Warrnambool Public Library also has an ultra-modern children’s section of 3,400 books, open to every boy and girl attending school in Warrnambool. Mr Pattison hopes to show travel-talk films and install a radiogram in the children’s section “later on”. But it won’t disturb adult reading next door because the junior section is sound proof. “ Mechanics’ Institutes and Museums Mechanics’ Institutes were important sites for collecting in country Victoria … Warrnambool … all had museums attached to Mechanics’ Institutes before the end of the twentieth century” Warrnambool Mechanics’ Institute Ms Tierney said FHMV holds the collection of the Warrnambool Mechanics’ Institute in three different locations on its site. “The Mechanics’ Institute opened in 1871, was demolished in the 1960s and was one of the oldest in Victoria. “FHMV intends to create a new storage area and bring the collection together in one place which will greatly facilitate access and research. “The collection consists of books and archives dating from the 1850s to 1959s. “Some of the books are rare and valuable but it is unclear as to their relevance to the history of Warrnambool or Victoria,” Ms Tierney said. Warrnambool TAFE History South West TAFE has a long and proud history of providing technical and specialist education, with links back to the formation of the Mechanic’s Institute in 1853. Warrnambool Art Gallery’s History The Warrnambool Art Gallery began in 1886 when retired police officer Joseph Archibald opened its doors in a building behind the mechanics institute in Liebig Street. The Gallery began with an eclectic mix of artworks and museum curios. Before long Archibald mobilised public support and paid for a new gallery annex. Loans and grants allowed the Gallery collection to grow with significant early acquisitions by French, German, and Belgian artists, which were less expensive than British works. Despite its enthusiastic start the economic downturn of the 1890s brought the Collection to a halt. In 1910 the Council took control of the Mechanics Institute and ran the Gallery there until 1963 when the building was allocated for municipal offices. The Collection was dispersed on loan to galleries in Shepparton and Hamilton and not reunited until 1971. In 1986 the Gallery’s Centenary year, a permanent home was built next to the ‘Civic Green’ and named in memory of one its champions Sir Fletcher Jones O.B.E. 2016 Warrnibald Entries Joseph Archibald established the Warrnambool Museum and Art Gallery in 1886 while his son Jules Francois Archibald founded the Archibald Prize through his bequest of 1919. His aim was to foster portraiture, as well as support artists, and perpetuate the memory of great Australians. Official History of Australia In The War of 1914-18 Vol 4 The Australian Imperial Force in France 1917 Author: C E W Bean Publisher: Angus & Robertson Date: 1936 Label on spine cover with typed text PATT 994.04 OFF Front loose endpaper has a sticker from Warrnambool Public Library covered by a sticker from Corangamite Regional Library Service Front end pastedown paper has a type written paper that reads "Unknown Soldiers. Last year 795 bodies of British Soldiers of which 47 were Australiands, were recovered from the battlefields of France and Belgium. The High Commissioner ( Mr. S. M. Bruce) states in his annual report that, althoughthe 47 bodies were readily identifiable by their uniforms,caps,and badges and shoulder titles as those of Australian soldeirs, it must be regretfully recorded that in most cases their names will never be known." warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, book, warrnambool mechanics’ institute, pattison collection, warrnambool library, ralph eric pattison, warrnambool city librarian, mechanics’ institute library, victorian library board, warrnambool books and records, warrnambool children’s library, official history of australia in the war of 1914-18 vol 4, official history of australia in the war of 1914-18, the australian imperial force in france 1917, a.i.f., c e w bean, s. m. bruce

Pens, nib pens and later fountain pens, with suitable inks, were commonly used for writing communications from the 18th century to the mod 20th century. Fountain pens continue to be used and enjoyed. Dip pens with a wide variety of nibs are used for calligraphy writing, a hobby enjoyed by many people. The quality of the pen handle, the nib and the ink all work together to produce fine handwriting that expresses the character and mood of the writer. This Bakelite ink case has been specifically moulded to snugly contain an ink bottle, with just enough room to wrap the bottle with a padding or card or blotting paper. The screw top lid fits the case well and this container would be a good way to travel with ink because any spillage would be kept within the waterproof case. The Bakelite material is lightweight and strong. Ink bottle cases, or travelling cases, have been made as an accessory for nib pen writers. The first patent for a “pocket-case for bottles”, a wooden case, was applied for in the US in 1891. Other materials such as steel, pewter and aluminum as well as Bakelite have also been used. The British Museum has an elaborately decorated bronze ink pot holder that is inlaid with turquoise. Today ink bottle cases are even available in fabric with loops to attach to a belt. Bakelite, the material used for this ink bottle case, is made from synthetic materials and is an early form of plastic, developed in 1907 and used extensively until the 1940’s. It is still in used today for specific applications but has been largely replaced by more modern forms of plastics. This ink bottle case carries the imprint of Mabie, Todd & Co. (Aust.) Pty. Ltd. This form of company name was used from 1938 to the mid 1950’s. The Swan ink bottle’s information says it was made by Mabie, Todd & Co. Ltd., London and Sydney, so dates the ink bottle from about 1908 until 1934. (Australian newspapers display advertisements dated 1908 until 1934 for Sydney wholesalers and agents for Mabie, Todd & Co. Ltd.) ABOUT PERSONAL FOUNTAIN PENS (FOUNT PENS) A 1917 newspaper advertisement recommends that the owner of a “Swan” doesn’t lend it to anyone else to use due to its qualities of it personalised to the owner. It reads “Don’t lend your “Swan” fountpen, recommend it, but don’t let other people use it. You see, a good pen doesn’t wear, but its “tamper” (or spring) works into the writer’s pressure and manner of holding. Another person with a dashing style of writing may strain it do that it will no longer feel just like your own.” This personalisation of nib pens may be the reason that legal documents in the past being acceptable only if they were signed using a ‘wet ink’ pen. Forgeries of signatures could be easily detected as the nib takes on the character of the pen’s owner. A ballpoint pen was not acceptable. This is a strong contrast to modern times when a digital signature is widely accepted. ABOUT MABIE TODD Pty Ltd. The American company Mabie Todd began by making pencil cases in New York in the 1860’s. The Bard Brothers, makers of Gold nibs, joined Mabie Todd and the company was established in the 1870’s as Mabie Todd and Bard. In 1878 the company filed a patent for the design of a fountain pen and in 1884 the first Swan fountain pen was released. In 1884 a Mabie Todd and Bard office and showroom was established in London. In 1906 the company’s name changed to Mabie Todd & Co, New York. The UK offices also used this new name and in 1907 the UK began producing their own Swan pens. Manufacturing was going so well in England that New York sold their rights to European and Colonial business to the new Mabie Todd & Company Ltd of England. By the end of the 1930’s all components for the pens were being made in the UK; the pens in the London factory, the gold nibs in Birmingham and the ink in Liverpool. Newspaper articles from 1934 stated that Mabie Todd were large buyers of Tasmanian iridium, which had been welded with gold and used since 1834 for the tips of nib and fountain pens. Fountain pen points were the largest market buyers for Tasmanian iridium, which was classed as “the best in the world”. Production growth continued up until WWII times, when the headquarters and main factory were destroyed. Mabie Todd & Company Ltd of England rebuilt out of the inner city and by 1946 pen production began again. The market for nib and fountain pens was diminishing by this time, with people beginning to use the new ballpoint ‘Biro’ pens. The Mabie Todd bought shares in Biro Pens and in 1952 became Biro Swan. They went on to make more ballpoint pens than any other manufacturer in Britain. The ink refills that Biro-Swan produced came in five different viscosity or thickness xhoices, depending on the season and location of where the pen would be used . Along with the ballpoint pens, Biro-Swan also introduced a range of Calligraph pens to attract those following the new trend for italic writing. In 1948 Mr. T. Burke, a director for Mabie Todd & Co. (Aust.) Pty Ltd., announced that there would be a £40,000 factory built in Sydney in 1949 for the manufacture of ink. The plant for the factory would be imported from overseas. Sadly the company struggled against competition and in 1956 Mabie Todd closed business and no more Swan pens were produced. The ink bottle and container was donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The ink bottle case is significant for its association with writing methods commonly used during the colonisation of Australia until the mid-20th century. The protective Bakelite case demonstrates the value placed on caring for the user’s supply of ink and protecting other belongings of the user, enabling writers to easily carry and safely transport their ink without the concern of spilling it. The case’s design is a good example of the use of new technology. The properties of Bakelite have enabled its moulded design and make it waterproof and lightweight, easily cleaned, closely fitted to the shape of the ink bottle within and lid and base join together using a smooth screwing action. The maker’s marks have also been moulded into the Bakelite, therefore not distracting from the simple but elegant design. This ink bottle case also represents the period of early to mid-20th century when handwriting materials for writers using ink and nib pens were imported into Australia and developed for the Australian market and sold by wholesalers on behalf of overseas companies. Vintage brown Bakelite travelling ink bottle case (or holder, pot, well) containing glass ink bottle and original textured cardboard liner, made by Swan Ink, Mabie, Todd & Co. (Aust) Pty.. Ltd. The Bakelite container is shaped to fit snugly around the ink bottle. It still retains its original shiny finish, the lid screws on and off perfectly. The maker’s name is embossed on lid and base of the Bakelite container. The inkwell contains a glass Ink bottle with a tiny amount of dried up ink Swan triple filtered ink inside. The bottle is cylindrical with curved shoulders tapering to a neck of around 2cm. The white metal screw-on lid and the white and red paper label on the side of the bottle both have a printed description of the ink and maker. Circa 1934-1950’sBAKELITE INK CASE - embossed on either side of the lid “ “SWAN” INK / ”SWAN” INK “ - embossed into base, written in a circle “MABIE TODD & Co (Aust.) PTY. LTD.” GLASS BOTTLE – printed on lid “SWAN”/ [corporate logo combining letters ‘M, T, co’]/TRIPLE FILTERED/ INK.” - printed on label “SWAN” INK /FOR FOUNTAIN & / STEEL PENS / A BLUE BLACK INK OF/ THE FINEST QUALITY/ MADE IN ENGLAND/ MABIE. TODD & CO LTD …….. LONDON. SYDNEY/ Makers of “SWAN” Pens, Gold Pens & Ink“ - moulded into the base of the ink bottle and written around the bottom outside edge of the bottle are the words “THIS BOTTLE ALWAYS REMAINS THE PROPERTY OF/ MABIE TODD/AUST”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ink bottle holder, ink bottle case, ink bottle pot, travelling inkwell, portable inkwell, travelling ink pot, travelling ink bottle case, ink bottle, inkwell, ink well, swan ink, bakelite, dip pen ink, nib pen ink, fountain pen, fontpen, writing methods, stationery, mabie todd & co, swan fountain pens, biro-swan

Arthur Woodley who donated the photographs, was a friend of Jimmy Clarke, who was Captain of the Killarra Ferry and lived at Narabeen Guesthouse in Cowes, Phillip Island. The family lived at San Remo - father was George Clarke. 325-01 - Sepia photo/postcard of 7 WWI soldiers - Jimmy Clarke on right at back and Jack Clarke on left at back. 325-02 - Sepia portrait of Jimmy Clarke in Army uniform. 325-03. Sepia photo/postcard of 3 WWI soldiers in uniform. 325-04. Sepia photograph of 4 WWI soldiers. Jimmy Clarke 3rd from left and Jack on the right. 325-05. Small sepia photograph on black cardboard of 8 WWI soldiers in France. Jimmy & Jack Clarke in the front. 325-06. Sepia photograph of a large group of WWI soldiers in France. Jack & Jimmy Clarke standing at left.325-01 - Letter on postcard: "Dear Dick, This is our gun team with Corporal, Lance Corporal M. Medal, Jim on your right and your humble on your left. Kind love to all. From Jack. Rec'd your letter dated Feb 24th. France 15/5/1918." 325-03. "Either Jimmy or Jack Clarke standing" 325-04. "Taken at Tannery, St. Aubin, Floreunes. A. R. Joyce, R. R. Godden, Jim & I. French Mortar Crew. First World War 1914-18. 325-05. "Jimmy" & Jack Clarke front in France WWI. 325-06. "Balance of Battery "Apre le Geurre" France 1919. wwi soldiers, jimmy clarke, jack clarke, arthur woodley

This letter describes a business transaction of an item essential to conducting a mill in the days of the pioneers. The horse was purchased from Francis Jones at Grasmere some 45 kilometres distant. Francis Jones and descendants were closely associated with the settlement of Grasmere (district) and 'The Union', a well-known pastoral property still in existence today.The conduct of business in the 19th century could be slow and arduous. Horses were an essential component of business and communication. Their labour was pivotal to success and so their physical soundness (or otherwise) was vital. The horse trade was open to manipulation by the unscrupulous, selling unfit animals. Veterinary care and treatment was primitive, so a buyer could not be confident of a positive result, despite (as in this case) Jones' assurances of the triviality of the injury and Knights' capabilities. Handwritten letter on paper folden in half - water stained.Grasmere. April 4th 1864. Messrs. Hamilton & Co. I beg to acknowledge the receipt of yours of the 29th March enclosing a cheque for [pound sign] balance of the price of the bay mare for which I am much obliged to you for your punctuality in sending it. I enclose you a receipt for the the (sic) same. With reference to the swelling on the mares leg it could only have been there a very short time before you purchased her. It can easily be removed if the proper remedies are applied. M. Knights the veterinary surgeon will give you medicine that will remove it for a trifle. Hoping the mare will give you ample satisfaction. I am scy. (sic) [sincerely] yours respecfully Francis Jones. mortlake mill hamilton transport communication francis jones grasmere michael knights veterinary surgeon

Mrs Martha Closter ( Kloster), of Oakleigh purchased the Melber Sewing Machine in 1909 and gave it to her daughter Mary when she and Alonzo Box married in 1918 and settled in Moorabbin Shire. This document was donated by a descendant of the Box family in 1985.William and Elizabeth Box purchased 'Box Cottage' in 1865 from a pioneer settler who had bought part of the land noted in Dendy's Special Survey 1841 Brighton. They raised their family there and established a market garden to supply produce to the population of Melbourne. Their nephew Alonzo married Mary Kloster/ Closter in 1918 and she brought with her this 'Melber' sewing machine that she used to provide clothing for the family The original, hand written, Guarantee for the Melber Sewing Machine purchased by Mrs Martha Closter of Oakleigh in July 15th 1909 at Powell & Candy, Importers of Chapel Street, Prahran, Melbourne. MEMORANDUM / From / Powell & Candy/ IMPORTERS / ‘ July 19th 1909 ‘ ( hand written) / To M / The Melbourne Sewing Machine / Exchange, / 154 CHAPEL STREET, PRAHRAN / Guarantee ( hand written) / “ We hereby guarantee the Melber Rotary Hook / Drop Head Sewing Machine Sold by us to / Mrs Closter of Oakleigh, to be free from defects / in regard to material & workmanship & will / make good any defects not caused “be” / accident, rough usage or neglect at any time / within Five (5) years of date of purchase . viz. / July 15th 1909. / All parts to be submitted to us at our place / of business for inspection before any claim / is allowed. / Powell & Candy / per ……..” ( all hand written ) victoria, melbourne, clothing, brighton, moorabbin, pioneers, sewing, box elizabeth, box alonzo, closter mary, oakleigh, kentucky, early settlers, america, craftwork, sewing machines, melber company, u s a, prahran, kloster martha

A vinyl record that hasn't been played. From the label it appears to be an interview with Miss Saide Parker. She may be a junior legatee and the recording is to promote Legacy's work with the children of the deceased ex-servicemen. The record has two tracks. One is 6 mins 16 secs and the other is 9 minutes.An audio recording about Legacy.A vinyl record in a brown paper cover which is torn, dog eared, brown coloured stains.Paper cover, Orhoacoustic, 5 points on the value of an orthacoustic recording. Instructions for protection of disc when not playing. Name and address of manufacturer. Disc, side 1 AW 19703A. Side 2 19703B Engraved on disc side1 AW 12/19703A, Legacy Talks. Engraved on disc side 2 AW12/19703B Legacy Talk. Chinagraph penciling, T_3 2/8/52, 3Piil Side 1 AW 19703 A. Legacy Talks Miss Saide Parker. Talk 1 6m. 16s. Talk 2 9m. 00s Legacy Talks Col. E.O. Milne D.S.O., O.B.E.,V.D. Talk 3. 5 m. 06s, Talk4. 9m. 07s. Label, Radiola.legacy promotion, junior legatee

Presented to the 8th/13th Victorian Mounted Rifles Regiment RAAC by its affiliated regiment the 8th Royal Irish Hussars as part of a gift of regimental property when a reorganisation of British cavalry regiments was being undertaken.Silver rose bowl mounted on black shellacked wooden base. Bowl is oval in plan view and boat-shaped in elevation with human figurines as handles. Designation of the bowl as the Subalterns Challenge Cup inscribed on side of bowl while winners are inscribed on wooden base.On side of bowl: "Subalterns Challenge Cup Presented to Lieut.Col. Davidson and the Officers 8th Hussara by major C G Poley on leaving the Regiment May 1893" and on base: "Won at Wetherby 1896 Lt O'Brien br:g "Baccarat" Owner Won at Wetherby 1897 Lt F J C Howard's b.m Moonshine aged Owner 12st 3lb Won at Fethard 1898 Lt E A O'Brien br.g Baccarat Owner 12st 3lb Won at Mullaboden 1899 Lt E M Jennings b.g May Boy Owner 12st 3lb Won at Aldershot 1904 Lt H F Partridge's b.g Loch Lomond aged Owner 12st.3lb"8th hussars, rose bowl, regimental silver, horse racing, subalterns challenge cup

The fire screen was part of the original furnishings of the Lighthouse Keeper's Quarters in Merri Street, Warrnambool. It was made by Lighthouse Keeper, Thomas Hope. Thomas served two terms as an assistant lighthouse keeper in Warrnambool. His first term was from 1905 to 1907. He later returned from 1910 to 1913, when he was appointed as Keeper five months after the untimely death of his predecessor Peter Quinn. Woodworking was one of Thomas Hope’s hobbies, and the three-panel fire screen he made as a lighthouse keeper is now in the Flagstaff collection and is displayed in the Lighthouse Keeper’s Cottage. Thomas Hope 1857 - 1928 Thomas James Hope was born in Camden, Surrey, England in 1857. His father, also called Thomas, was reputed to be a member of the Royal Family, and Thomas Hope Junior his illegitimate son. Thomas was subsequently brought up on the estate of the Earl of Hopetoun in Somerset and it was thought that Thomas was the Earl’s grandson. Against the wishes of those in charge of Thomas, he joined the navy at an early age, seeing much of the world until he settled in New Zealand at the age of twenty-four. After some years in New Zealand, he came to Australia to live. One of the jobs Thomas Hope had prior to becoming an assistant lighthouse keeper in 1896 was as a cook in the Lunatic Asylum at Sunbury, Victoria. He served as an assistant keeper at Shortlands Bluff, Gabo Island, Split Point and Warrnambool, retiring in 1918. He bought a house in Nicholson St, Warrnambool and died in March 1928. He is buried in the Warrnambool cemetery. Thomas Hope is recorded in family history as being of short stature and, not surprisingly given his alleged aristocratic connections, possessed a beautiful speaking voice. He and his wife Elizabeth nee Waters, whom he married in New Zealand, had six children (Thomas, killed in World War One), Ellen (Nell), Nora (who was married at the Warrnambool lighthouse keepers cottage), William (who died in Warrnambool), Marion and Alan. Joseph Hoover (Dec 29, 1830, to Aug 7, 1913) Joseph Hoover, the printer of the pictures on the screen, was born in Baltimore, of Swiss-German heritage. He was trained as an architectural woodturner. In 1856 Hoover moved to Philadelphia and began producing elaborate wooden frames in his wood-turning and framing business. By 1865 Hoover had started to produce popular prints for publishers and artists, which included noted Philadelphia artist James F. Queen. In the 1880s Hoover set up a complete plant specialising in chromatography, the process of producing colour prints from lithographic plates. The coloured prints he produced were affordable to business and private customers. In 1893 his son Henry L., a trained lithographer, joined the company as overseer and it was called J. Hoover & Son. It became one of the largest in America by the turn of the century. Hoover won a medal for Excellence for his Chromolithographs of James Queen’s works. In 1904 Joseph’s other son, Joseph W, joined the business as a partner and the company was called Jos. Hoover & Sons. Hoover died of a heart attack in 1913. He was survived by his wife and six children: two sons who were also his business partners, and four daughters. The firm continued in production until around 1985. Hoover’s prints included scenes, still life and landscapes of America and other locations. They were sold in America and overseas to countries including Canada, Germany, Mexico and England. The three-panelled screen in the Lighthouse Keeper’s Cottage was made by the Assistant Lighthouse Keeper, Thomas Hope during one of his two terms at the Lighthouse Keepers' Quarters. It is the only object in the collection known to be connected to Hope. The Lighthouse Keeper's Cottage is part of the Lady Bay Lighthouse Complex, which is listed on the Victorian Heritage Register for being of historical, scientific (technological) and architectural significance to the State of Victoria.Fire screen comprising three black wood framed panels hinged together. Each panel contains a glass-encased print depicting a rural landscape. Ornate stencil cut wood edging and quilt-inspired parquetry sits above each panel. The central panel is taller than those either side. Screen is lined in black-painted cardboard.Printed at the base of each of the three prints “COPYRIGHT 1896 BY J. HOOVER & SON, PHILAD’’A.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, firescreen, thomas hope junior, ellen (nell) hope, nora hope, william hope, marion hope, alan hope, jos. hoover & sons of philadelphia, lighthouse keeper, assistant lighthouse keeper, carved screen, merri street, lighthouse keeper's cottage, lighthouse residence, lighthouse, wood carving, lighthouse complex, lady bay lighthouse, fire screen

G42 Garratt Steam Locomotive Traffic and train loadings on Victoria's narrow gauge railways reached their peak during the 1920s. To assist in handling the longer, heavier trains, the Victorian Railways ordered two larger, more powerful Beyer Garratt locomotives. These were delivered in 1926 and were numbered G41 and G42. They were sent to work on the Colac–Beech Forest–Crowes line and the Moe–Walhalla line respectively. After the line from Moe closed in 1954, G42 was sent to Colac, where it worked with its mate, G41, until closure of that line in mid-1962. G41 had been in poor condition and was scrapped, whereas a brighter future awaited G42. The Victorian Railways offered G42 to the Puffing Billy Preservation Society, for display as a static exhibit in the Menzies Creek Museum. Over time, a plan evolved to restore G42 to operation, a goal that was eventually achieved by the launch of G42 back into traffic in April 2004. G42 now continues to operate as a restored member of the Puffing Billy Railway's locomotive fleet. No. originally constructed: 2 No. in service: 1 (No. 42) Boiler pressure: (lb/sq. in) 180 Boiler heating surface: 1268 sq ft (117.8 m2) Tractive effort: (85%) 26,860 lbs (12.18 t) Driving wheel diameter: 36" (91.44 cm) Max axle load: 9t 5cwt Length Overall: 51' 7" (15.72m) Height Overall: 10' 8" (3.28m) Date of manufacture: 1926 Manufacturer: Beyer Peacock Place of manufacture: Manchester UK Locomotive Type: Garratt Coal capacity: 70 cwt Cylinder diameter: 13" (33.02 cm) Cylinder stroke: 18" (45.72 cm) Wheel arrangement: 2-6-0+0-6-2 Roadworthy weight: 69t Water capacity: 1680 gal (7,637.43 l) Beyer Peacock - Garratt Locomotives Register Works Number - 6268 / 1926 Gauge/Railway/Class - 2'6"/Victorian Government Rlys/G Type - 2-6-0+0-6-2 No. G42 Notes - Australia G42 Built in 1926 and painted all-over black, this Garratt locomotive was issued to the Moe to Walhalla line where it remained—other than for overhauls—until the line closed in 1954. After an overhaul at Newport Workshops, it was issued to the Colac to Crowes line and remained there until that line closed in 1962 when it was returned to Newport Workshops for storage. In 1964 it was sold to the Puffing Billy Preservation Society and removed from the V.R. register 3 months later. It arrived at Belgrave in 1968 and was hauled to Menzies Creek for static display in the museum. 1986 saw the commencement of restoration the Belgrave workshops and has been restored to its 1946 to 1954 condition with raised cab roof, raised marker lamps, steel cow-catchers and all-over black livery. It was returned to service on April 18, 2004. Service History : Jun 1926 - Moe - initial allocation of a new locomotive Jun 1926 - Oct 1954 Moe Oct 1954 - Jan 1955 Workshops Jun 1955 - May 1962 Colac Jul 1962 - Dec 1965 Workshops - Stored Jan 1968 - Feb 1968 Belgrave - Stored Feb 1968 - 1982 - Menzies Creek Steam Museum 1982 - 2004 - Under restoration Apr 2004 - Belgrave - In active service at Puffing Billy Railway BelgraveHistoric - Victorian Railways - Narrow Gauge - Garratt Steam Locomotive - G42 Victorian Heritage Register (VHR) Number H2187 G42 Garratt Steam Locomotive made of steel, iron and wrought iron with brass fittings - the Locomotive is in Active Service - Belgrave Station G42puffing billy, narrow gauge, garratt, g42, steam locomotive, beyer peacock, victorian railways

During prestige, long distance train journeys some carriages had air-conditioning, and the majority of passengers had to brave unheated carriages. To offer some comfort during the winter months, the non-air-conditioned carriages were provided with footwarmers. These were metal containers roughly 100 mm thick and 300 mm wide, and about 750 mm long, which were filled with salt crystals (concentrated crystalline hydrated sodium acetate). The footwarmers were covered by sleeves of thick canvas, and two footwarmers were usually placed in each compartment of non-air-conditioned carriages. To activate the chemicals, the footwarmers were heated almost to boiling point. This was done by removing the canvas sleeves and placing the footwarmers in a large bath of very hot water. After they had been heated, they were removed from the bath and the sleeves refitted. They were then ready to be placed in the carriages. The McLaren patent foot warmer was used on railways in New South Wales, Queensland, Victoria and South Australia as well as South Africa and New Zealand. It was during the 1901 royal visit by the Duke and Duchess of Cornwall that these foot warmers were first used in New Zealand in the royal carriage. Before railway carriage heating was introduced, McLaren patent foot warmers were placed on the floor of New South Wales government railway carriages from 1891 to provide a little passenger comfort. The rectangular steel container worked a bit like a hot water bottle but instead of water contained six and a half kilograms of loosely-packed salt crystals, (concentrated crystalline hydrated sodium acetate). This was permanently sealed inside the container with a soldered cap. After the foot warmer was heated in vat of boiling water for about one and a quarter hours the crystals became a hot liquid. (The melting point for sodium acetate is 58 degrees). There was a whole infrastructure of special furnaces set up at stations for the daily heating of foot warmers. By 1914 the Victorian railways had 4,000 foot warmers in service and by 1935 there were 33 furnaces at principal stations to heat them. After about 10 hours the container was picked up by the handle and given a good vertical shake which helped the cooled liquid reform into a solid mass of hot crystals. Staff or sometimes passengers shook them en route when the foot warmers began to get cold. However, as they were heavy this was only possible by fit and agile passengers. At the end of the journey the containers were boiled again for reuse on the next trip. Sodium acetate railway foot warmers were introduced in Victoria in 1889, Adelaide to Melbourne express in 1899. "Shaking up" on this service took place at Murray Bridge and Stawell on the tip to Melbourne and at Ballarat and Serviceton on the trip to Adelaide. The use of foot warmers began to decline in New South Wales from the 1930s with the first trial of carriage air-conditioning in 1936, steam heating from 1948 ad LP gas heating from 1961. By the early 1960s the main services using foot warmers were the overnight mail trains. info from : http://www.powerhousemuseum.com/collection/database/?irn=67564#ixzz4UBNzVf6t Under Creative Commons License: Attribution Non-Commercial There was a whole infrastructure set up at stations for the daily heating of foot warmers in special furnaces. In Victoria alone in 1935 there were 33 heating works.Historic - Victorian Railways - Carriage Heater - Foot warmerA rectangular-shaped stainless steel casing with a welded seam down the back and welded ends. There is a handle at one end for carrying and shaking. Inside the foot warmer are two baffle plates and three trays to contain the sodium acetate. There was a cast-iron ball in each internal compartment. puffing billy, victorian railways, carriage haeter, foot warmer, passenger comfort, station furnace, railway ephemera, early heating methods

North Wangaratta State School 2391 was opened in May 1881 and closed October 26 1969. Today a plaque commemorates the site of the old school in Eldorado Road North Wangaratta. The Honour Board preserves the names of past students who enlisted to serve their country during the First World War and commemorates those who lost their lives. In 1965 after being stored in a woodshed for two years the Honour Board was put on display at The Eldorado Memorial Hall. The Eldorado Memorial Hall Committee became Trustees of the Honour Board and 1992 approved its transfer to the Vine Hotel Museum for public display. In 1996 at a meeting held on February 7, the Wangaratta North State School No 2391 Memorial Committee moved a motion that all memorabilia pertinent to the Wangaratta North State School be displayed at the Vine Hotel Museum under the guardianship of trustees appointed by the Wangaratta North State School Memorial Committee. In 2005 The North Wangaratta State School Trustees donated the Honour Board along with two photographs of WW1 soldiers to the Wangaratta RSL for safe keeping and display to the public. Students who enlisted include:- Private (Shoeing Smith) John BLAIKIE 2341 who was born at Wangaratta. He was a Blacksmith and at the age of 42 enlisted on May 28 1915. He embarked on August 10 1915 and served with the 14th Battalion. He returned to Australia in January 1918 and discharged medically unfit on April 10 1918. 5692 Private William Thomas BYRNE was born on 21/9/1890 at Docker Plains. He was educated at Docker Plains and Wangaratta State schools. A farmer when he enlisted on 13/10/1914. He trained at Broadmeadows and embarked on Hororata on 17/4/1915. He served with the 3rd Light Horse and 12th and/or 27th ASC - Army Service Corps as a Driver. 5347 Private Cyril BUCKLER, 14th Battalion. A postman from Wangaratta, Victoria, prior to enlistment on 16 February 1916 he embarked from Melbourne aboard HMAT Euripides on 4 April 1916 for Egypt. His unit relocated to the Western Front, France, in June 1916. Pte Buckler was killed in action near Pozieres, France, on 7 August 1916. He has no known grave and he is commemorated on the Villers-Bretonneux Memorial 3451A Private Sydney Spencer PLUM 1st Pioneer Battalion A.I.F, Born January 3rd 1894 at Dockers Plains. He was educated at North Wangaratta and Docker's Plains State School. He was a blacksmith when he enlisted June 12th 1915. He was trained at Flemington Racecourse and embarked on SS "Nestor" October 11th 1915. He fought in battles; Peronne, Cambrai, Somme. Being wounded 3 times. He embarked for home per SS "Orontes"; disembarked January 28th 1919 and he was discharged March 16th 1919. He died on July 25 1958. 483 Private Percy Albert TIPPETT served with the 6th Battalion AIF and was wounded on the 25/4/15 during the initial landing at Gallipoli and later died on 28/4/1915. 1981 Private Francis John VONARX Enlisted at Wangaratta on 15/6/1915 aged 33 years and embarked on 26/8/1915. Served with the 23rd Infantry Battalion and 2nd Machine Gun Battalion. Returned to Australia on 8/4/1919 On 13/4/2024 the Honour Board was deaccessioned from the RSL collection for permanent display at North Wangaratta CFA Brigade.Honour Board listing the 52 names of North Wangaratta State School students who enlisted to serve their country during the First World War and commemorates those who lost their lives. Large solid timber Honour Board with two carved minature cannons on top and above side columns."North Wangaratta State School/Roll of Honour/The Great War 1914 to 1919" 52 names in gold paint.north wangaratta state school 2391, honour board ww1

Set of 20 digital images of Bendigo Tramways, 1972 at or before closure while on a tram tour by Stuart Lodington. .1 - No. 29 at the North Bendigo terminus .2 - No. 29 just past the Bendigo end of the double track in High St Eaglehawk, with a BP dealer in the background. .3 - Night photo of No. 18 at a terminus, showing "Eaglehawk" .4 - ditto .5 - Night photo of No. 24 at Eaglehawk with Leo A Hughes Photographer in the background. The Tram has "Johnnie Walker whiskey" roof adverts. .6 - No. 29 outbound in Thunder St with a train passing over the bridge in the background. .7 - view from the front window of a tram on the Eaglehawk line with a large "display event float" in the foreground and tram approaching a crossing loop. .8 - No. 29 at North Bendigo .9 - view of High St Eaglehawk looking east from the terminus, showing the track and centre poles. .10 - No. 29 outbound on the North Bendigo line turning from either Nolan St or Caledonia St, running a special. .11 - No. 7 departing North Bendigo for Golden Square. .12 - No. 3 and 18 at Charing Cross. No. 3 has two SEC roof Advertisements .13 - No. 7 at North Bendigo with the trolley pole being reversed. .14 - No. 24 at Quarry Hill with Northern Terrazzo in the background with the driver alongside .15 - No. 7 and No.6 at Charing Cross with the Beehive buildings in the background. .16 - No. 7 at North Bendigo terminus .17 - ditto .18 - No. 24 at Quarry Hill with Northern Terrazzo in the background with the conductor alongside. .19 - ditto .20 - No. 26 and other bogie tram in View St near Charing Cross with the Armstrong Tyre Service building and signs for Cohn's Drinks and T&G in the view.trams, tramways, bendigo, eaglehawk, quarry hill, golden square, depot, north bendigo, charing cross, tram 29, tram 18, tram 24, tram 3, tram 7, tram 6, tram 26