Shows picture of Mechanics Institute and Victory Hall, Hogan Street, Tatura. Colour photograph showing Commonwealth Bank in Hogan Street, Tatura and business to the left of the Bank. Photograph stuck onto piece of white cardboard. hogan street tatura, commonwealth bank tatura

Constructed from a single piece of local stone. Ellis Park in background. Child seated is Victoria Wall about 5 years old.fiveways, ellis park, peace memorial

Photographs of Golden Square High School students. The year covered is 1981 classes: 7W-8R-8W The photos are glued to a piece of paper. All names listed on the backstudents' photographs, golden square high school

Frank and Blanche Cornell had their home built in 1904. Mr Cornell was a keen gardener, usually doing 2 hours’ work before going to work. He was a director of Buckley & Nunn, Bourke Street, having worked up from a position as shipping clerk. Frank was a great supporter of and worker for the Empire Day celebrations in the 1905-1911 period and also of the bowling club. He was also a keen photographer. Frank Cornell was first listed in Surrey Hills in 1906 at (6) Lorne Parade. In 1908 the listing gives his occupation as a clerk. He was born in 1869 in Richmond, Victoria and died 15 April 1917 in Surrey Hills from a stroke. His wife Blanche Annie Parsons Cornell (nee Bracher) was born in 1869 in Hokitika, New Zealand; she died on 21 January 1940. Children were: Gilbert Frank Cornell (b1894, Hawthorn; d1908, at Frankston beach, an accidental drowning) Ruth Amelia Cornell (b 1899, Kew; d 29 May 1977, Kew) Lorna Amy Cornell (b 1906, Surrey Hills; d unknown) Patience Blanche Cornell (b1907, Surrey Hills; d unknown). Frank and wife Blanche are buried in Box Hill Cemetery - CE-*-1058. Ruth Amelia married David Ellis, c1922 in Surrey Hills. David was a dentist who practised in Surrey Hills for many years. Patience (Pat) Blanche married Norman Henry Brewer (1893–1975) in 1931 in Surrey Hills.A black and white photograph of a man dressed in a 3 piece suit with flowers in his buttonhole, and a bow tie. He is also sporting a moustache.(mr) frank cornell, buckley and nunn, empire day celebrations, house names, lorne parade, surrey hills, (mrs) blanche amy parsons cornell, box hill cemetery, surrey hills bowling club, 'casallenroc'

This swimsuit belonged to Merilyn Case (nee Aldred), who grew up in Sandringham. BHS also has a swimsuit belonging to her mother, Jessie Aldred.One-piece halter-neck swimsuit with sweetheart neckline. Deep blue with gold central panel and halter strap. Low-cut back.Triangular label features a picture of a mermaid above the text "MADE IN ENGLAND".merilyn case, swimwear, 1950s

Cream tablecloth with large oval floral centre piece. Has four heavily paneled corners and patterned sides. Flowers scattered throughout.tablecloth

metal Monash University badge fixed on the the wooden board, a small piece of metal board is fixed below the badge but no writing is been written on it

This stencil was used on bags and possibly other packaging containing grain processed and packed at Anderson's Mill. The stencil would have indicated the destination of, or origin of the grain.Large stencil, metal (tin?). 3 corners of stencil chipped off at angle. Large piece of corner missing from top left.Cut out of stencil depicts cockerel & the words "SUNVALLEY FLAKED WHEATMEAL"

Wedding gift to Annette and Neville Lord from Mr and Mrs William J Sebire 3rd March 1934Six piece silver service - "Hecla plate" with tray, teapot, hot water jug coffee pot, sugar basin and milk jug. tableware, tea and coffee sets

This quern was made from Harcourt granite. Querns were used for grinding wheat into flour. (Wooden handles missing from this catalogued object).It was most likely made on Mount Alexander, in spare time, by a quarry worker using his employer’s gang saw and other tools. Wheat is not now grown in Harcourt district . Early settlers engaged in cropping until they exhausted the fertility of the soil. This quern was utilized by a local pioneer who intended to be self-sufficient to the extent of grinding his own grain into flour.. Many local farmers sowed wheat immediately after clearing the land: raising of a wheat crop was evidence of use and improvement which, along with fencing and erecting other structures, was part of the mandatory steps to prove occupancy as a prelude to obtaining a Crown Grant for what had previously been deemed ‘crown land'The quern is of interest as a symbol of the desire for self-sufficiency and as a demonstration of the extent to which granite could be worked and shaped by masonry tools. Quern, granite, square slab with raised metal centre shaft and one rounded piece of granite with off-centre hole and side ridges.

This item is from a collection donated by descendants of John Francis Turner of Wodonga. Mr. Turner was born on 6 June 1885. He completed all of his schooling at Scotts Boarding School in Albury, New South Wales. On leaving school, he was employed at Dalgety’s, Albury as an auctioneer. In 1924 John was promoted to Manager of the Wodonga Branch of Dalgety’s. On 15/03/1900 he married Beatrice Neal (born 7/12/1887 and died 7/2/1953) from Collingwood, Victoria. They had 4 daughters – Francis (Nancy), Heather, Jessie and Mary. In 1920, the family moved From Albury to Wodonga, purchasing their family home “Locherbie” at 169 High Street, Wodonga. "Locherbie" still stands in Wodonga in 2022. The collection contains items used by the Turner family during their life in Wodonga. A table scraper or sweeper was used in households and fine dining situations to ensure crumbs and small pieces of food could be easily and quickly removed.This item comes from a collection used by a prominent citizen of Wodonga. It is also an excellent example of domestic items used in the early 20th century.A small tray and scraper designed to sweep stray crumbs and bits of food off tabletops. This set has a kookaburra design on each piece,table crumber, dining items, domestic utensils

Sign with equal red bands at top and bottom, white band with letters "HAIL CARS HERE" on both sides to indicate to drivers a request stop, that is, the intending passenger had to indicate or hail the oncoming tram for it to stop and allow them to board. The same sign was used for the same purpose in Melbourne. Has three holes for screws on the upstand or folded section. See item 7395 for a "CARS STOP HERE" version. The second image shows a comparison between the two types. Demonstrates the signage used by the SEC (and the MMTB) to indicate tram stops and in particular whether a request or compulsory tram stop. Piece of sheet steel folded to give an upstand or method of attachment to a pole, enamelled with red, white and black paint for use at tram stops. trams, tramways, ballarat, secv, tram stops, furniture

Five Glass Slides- single piece of glass with emulsion on one side. Unknown Subjects, one couple, two toddlers, and a young woman.history, bendigo

Three piece set made of bakelite simulating tortoiseshell and comprising powder compact, nail buffer and small container for nail powder polish.

Ada of California was a Melbourne swimwear company founded in the early 1950s by Brighton locals Ada and Toni Murkies. Born in Poland in 1922, Ada was 17 when the Second World War reached her doorstep. She and her family were torn from their home by Soviet soldiers and sent to a brutal labour camp in Siberia as part of a series of mass deportations. In order to escape the horrific conditions of the camp, Ada and her sister Barbara joined the Soviet-backed Polish Army. During her time in the military she became close with a handsome young Jewish officer, Lieutenant Antoni Murkies, who later became her husband. After the war Toni was awarded 15 medals including the highest Polish military honour, the Virtuti Militari. Ada was awarded 10 medals, including the Order of the Cross of Grunwald. Emigrating to Australia as postwar refugees in 1948, Ada and Toni arrived in Melbourne with little to their name. Working initially in garment factories and building their connections, by the mid-1950s the couple were able to start a company of their own, with Ada designing the garments and Toni managing the business. Within ten years, Ada of California swimwear was being sold in department stores throughout Australia, and the Murkies family were able to build a permanent home of their own in Brighton. By the early 1980s they had acquired several other major labels, including Watersun. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Black one-piece swimsuit with deep v-neck and low-cut back and high-cut legs. Halter neck. Ruched sides. Label in side: "ada / 16"swimwear, ada of california, ada productions, melbourne designers, ada murkies, toni murkies

Ada of California was a Melbourne swimwear company founded in the early 1950s by Brighton locals Ada and Toni Murkies. Born in Poland in 1922, Ada was 17 when the Second World War reached her doorstep. She and her family were torn from their home by Soviet soldiers and sent to a brutal labour camp in Siberia as part of a series of mass deportations. In order to escape the horrific conditions of the camp, Ada and her sister Barbara joined the Soviet-backed Polish Army. During her time in the military she became close with a handsome young Jewish officer, Lieutenant Antoni Murkies, who later became her husband. After the war Toni was awarded 15 medals including the highest Polish military honour, the Virtuti Militari. Ada was awarded 10 medals, including the Order of the Cross of Grunwald. Emigrating to Australia as postwar refugees in 1948, Ada and Toni arrived in Melbourne with little to their name. Working initially in garment factories and building their connections, by the mid-1950s the couple were able to start a company of their own, with Ada designing the garments and Toni managing the business. Within ten years, Ada of California swimwear was being sold in department stores throughout Australia, and the Murkies family were able to build a permanent home of their own in Brighton. By the early 1980s they had acquired several other major labels, including Watersun. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Blue backless one-piece swimsuit with ruching up sides and front. Halter neck. Straps loop down over hooks at the back.Label in side: "ada / 12"swimwear, ada of california, ada productions, melbourne designers, ada murkies, toni murkies

Tea pot would have had a thick tea cosy and this piece over the top as decoration.White tea pot cover - semi-circle in shape. hand made tatting and drawthread edging. Three cut out embroidery patterns with leaves embroidered around them on one side and one example of the sam pattern enlarged on the other side.handcrafts, needlework, manchester, table linen

A short piece by two students at Bundoora Primary School about the origins of the name of the suburb Bundoora.Text with two coloured photosbundoora, bundoora primary school

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Coats Patons and contains knitting patterns for womens garments.Patons / KNITTING / BOOK No. / 718 / FASHIONS WITH A FLAIR / Jackets, sweaters, and / this 3-piece suit / - all with that extra / fashion touch and / the flattering / finish of / BLUEBELL / 3'- / 30 CENTSknitting handicrafts - history, coats patons (australia) limited, knitting, handicrafts - history

Large sepia coloured mounted photograph of a Bride and GroomOn piece of paper pasted on mount below photo: "Mary McNamara | Mrs Briggs" Written on back of mount: "Mary McNamara (Mrs Briggs)" "Identity from Mary Briggs"mary mcnamara, mary briggs

Black with part covering of brown adhesive fabric. Small magnifying eye pieces missing. Original markings Colmont F1 Paris on each eye piece. Engraved No 2MK11 and IMI5075. Large lense end engraved 809 and square symbol with arrow pointing upwards.

This timber fragment is from the shipwreck of the SCHOMBERG (1855). The bow of the ship broke off after an unsuccessful salvage attempt to tow her off the Peterborough reef. At the wreck-site the submerged hull points north towards the beach but the front section is missing. Parts of the bow have been carried away by the eastward bearing ocean currents and have come ashore on the western coast of New Zealand’s South Island. Don Charlwood writes in Wrecks & Reputations (1977) that in 1871 “a piece of wreckage over 20 feet long and 12 feet wide was brought out” by land from its remote location at Tauperika Creek. In 1875 “an even larger section was brought out by sea”. It was suggested at the time that these relics of a large wooden sailing ship were from the wreck of the SCHOMBERG some 20 years earlier on the Victorian coast. “To corroborate the theory”, Charlwood continues, “a piece was sent to Halls of Aberdeen [the ship’s builders in Scotland]. They identified it as having come from the ship they had launched with such pride in 1852.” Charlwood, whose great-grandparents were passengers on the SCHOMBERG’s fateful maiden voyage, acquired some samples of the wreckage timber recovered in New Zealand, and brought them back with him to Australia. In 1976 “comparison was made of timbers from the New Zealand find and timber from the remains of the hull at Peterborough. They proved to be from the same ship.” The extraordinary journey of these pieces of wood from the once mighty clipper ship SCHOMBERG came to an end in 1984, when they were given to Flagstaff Hill by the author, and reunited with other shipwreck timbers and copper bolts from the vessel that are on display at the Maritime Village. The shipwreck of the SCHOMBERG is of State significance - Victorian Heritage Register S612The artefact is a small piece of wood that was broken from the timbers of the shipwreck of the SCHOMBERG (1855) and carried by the eastern currents to New Zealand (1875). It has 2 drilled holes that show faint screw marks and no metallic residue (possibly for patent treenails). The top surface is rounded, of a dark colour, and showing clear grains that have been worn smooth by the action of the sea. There is a reddish stain on the timber where breakage has occurred. The wood appears to have been strong in its original condition but is now light to lift and soft and crumbly at its exposed edges. The artefact is in fragile condition.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, shipwreck timber, don charlwood, ‘wrecks & reputations’

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

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

This item is a container that would have been used by a woman to hold small items such as pins. It may also have originally contained some lotion or powder but there is no trade name to indicate this. It would have been found in a bedroom. Such items as these would have been given as presents to members of the more affluent families in the early 20th century. This container has no known local provenance but is retained as an attractive item from the past. It will be useful for display.This is a round-shaped cut glass container with a plain glass base and a metal lid which fits over the top of the container. The top of the lid has an enamel circular piece inserted into the metal. This piece has a white background with a painted image of the head and shoulders of a woman in brown and flesh-coloured tonings. The lid has some dents and some discoloration.household items, dressing table containers

These two maps of the Kapong/ Hawkesdale area in Victoria show the original lands that belonged to the pioneer settler, Charles Hamilton MacKnight and the handwritten annotations that show the subsequent owners of these lands. Charles Hamilton Macknight (1819-1873) came to Australia from Scotland in 1841 and in 1842, with partners, James Irvine and William Campbell, established the property of Dunmore in Broadwater (24 kilometres from Hawkesdale). He was a prominent breeder of sheep, cattle and horses. Sections of his lands were acquired by the Baulch family and these maps were acquired from a member of the Baulch family, with Stanley Baulch being the possible annotator of the Kapong map. These maps are of interest as they show the properties that belonged to the pioneer settler, Charles Hamilton MacKnight and the subsequent division of these lands, some of these passing into the hands of the Baulch family. As the Kapong map also shows other original landowners, it will be a useful tool for researchers..1 This is a map of Kapong in the County of Villiers. It is on a rectangular-shaped piece of linen-backed paper with black printing and some handwritten annotations in red ink. It is crumpled at the edges. .2 This is a rectangular-shaped piece of paper showing a map of the Hawkesdale area. The printed material is in grid form in black, green and red. At the left bottom edge it has a mauve stamp. kapong, victoria, hawkesdale, victoria, dunmore estate, victoria, charles hamilton macknight, baulch family, western victoria, history of warrnambool

Black and white photo of the G.P.O.Military Band. There are twenty seven band members with brass instruments and two with drums. Photo is pasted to a piece of paper and another piece is stuck under the photo with the name. Typed on the paper is: G.P.O.Military Band Melbourne c. 1900. Photograph by courtesy Mrs. Kellam, Bendigo. Name is also painted on he side of the bass drum.photo, group, g.p.o.military band melbourne, peter ellis collection, g.p.o. military band melbourne, mrs kellam