A saw is a tool consisting of a tough blade, wire, or chain with a hard-toothed edge. It is used to cut through material, very often wood, though sometimes metal or stone. The cut is made by placing the toothed edge against the material and moving it forcefully forth and less vigorously back or continuously forward. This force may be applied by hand, or powered by steam, water, electricity or other power sources. An abrasive saw has a powered circular blade designed to cut through metal or ceramic. In ancient Egypt, open (unframed) saws made of copper are documented as early as the Early Dynastic Period, circa 3,100–2,686 BC. Many copper saws were found in tombs dating to the 31st century BC. Models of saws have been found in many contexts throughout Egyptian history. As the saw developed, teeth were raked to cut only on the pull stroke and set with the teeth projecting only on one side, rather than in the modern fashion with an alternating set. Saws were also made of bronze and later iron. In the Iron Age, frame saws were developed holding the thin blades in tension. The earliest known sawmill is the Roman Hierapolis sawmill from the third century AD used for cutting stone.The subject item is believed to date from around the mid to late 20th century and is regarded as a modern item. The maker is unknown but the pattern or design and type of wood used indicate it is a tool of modern manufacture.Compass saw with wooden handle and metal blade. Small teeth. flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood cutting, wood saw, cross cut saw, cabinet makers tools, wood working tools, tool, compass saw

A saw is a tool consisting of a tough blade, wire, or chain with a hard-toothed edge. It is used to cut through material, very often wood, though sometimes metal or stone. The cut is made by placing the toothed edge against the material and moving it forcefully forth and less vigorously back or continuously forward. This force may be applied by hand, or powered by steam, water, electricity or other power sources. An abrasive saw has a powered circular blade designed to cut through metal or ceramic. In ancient Egypt, open (unframed) saws made of copper are documented as early as the Early Dynastic Period, circa 3,100–2,686 BC. Many copper saws were found in tombs dating to the 31st century BC. Models of saws have been found in many contexts throughout Egyptian history. As the saw developed, teeth were raked to cut only on the pull stroke and set with the teeth projecting only on one side, rather than in the modern fashion with an alternating set. Saws were also made of bronze and later iron. In the Iron Age, frame saws were developed holding the thin blades in tension. The earliest known sawmill is the Roman Hierapolis sawmill from the third century AD used for cutting stone.The subject item is believed to date from around the mid to late 20th century and is regarded as a modern item. The maker is unknown but the pattern or design and type of wood used indicate it is a tool of modern manufacture. Compass saw with wooden handle broken and metal blade. Small teeth.Noneflagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wood cutting, wood saw, cross cut saw, cabinet makers tools, wood working tools, tool, compass saw

The pair of epaulettes once belonged to W.R. Angus, who possibly wore them when he worked his passage to and from the UK in the 1920s. The button on each has an unidentified emblem. They are part of Flagstaff Hill’s comprehensive W.R. Angus Collection, donated by the family of Dr W R Angus (1901-1970), surgeon and oculist. The ties, which look like shoe laces, would secure the epaulettes to the uniform's shoulders. The epaulettes were made by Harvey's Naval Outfitters of 15-16-17 London Street, London, E.C.3, in the East Central area of London. Another of the firm's addresses is Leadenhall Street, London, named the 'centre of commerce'. East India Company and Pacific & Oriental Steam Navigation Company (P&O) once had their headquarters there. The postcode 'EC3' dates back to 1917 when the postcode system was established in the United Kingdom. William Roy Angus (1901-1970) qualified as a doctor in 1923. He decided he further his studies overseas in the UK in 1927, sailing on the ship SS Banffshire (built in 1912, destroyed in 1937). He studied at London University College Hospital and Edinburgh Royal Infirmary and in 1928 he was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh, Scotland. He worked his passage back to Australia as a Ship’s Surgeon on the Australian Commonwealth Line T.S.S. Largs Bay, purchased by the White Star Line in 1928. Dr W R Angus was a Surgeon Captain for the Australian Defence Forces, Army Medical Corps, stationed in Ballarat, Victoria, and in Bonegilla, N.S.W. He completed his service just before the end of the war due to suffering from a heart attack. The W.R. Angus Collection: - The W.R. Angus Collection includes historical medical equipment, surgical instruments and material belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) and 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. It includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. During World War II He served as a Military Doctor in the Australian Defence Forces. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Dr Angus and his wife were very involved in the local community, including the new Flagstaff Hill's planning stages and the gardens' layout. Dr Angus passed away in March 1970.This pair of epaulettes is connected to the badges in the W.R. Angus Collection. Dr W R Angus (1901-1970), surgeon and oculist, collected a range of badges and military objects including those he personally used during his time as Surgeon Captain in the Australian Defence Forces in World War II. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The Collection includes historical medical objects that date back to the late 1800s.Epaulette (pair of two), dark blue with red and gold horizontal stripes, with a gold-coloured button and woven white web ties. A tall rectangular shape with a point at the top. Made from a card base, covered by dark blue fabric and a hand-stitched lining of cream-coloured leather, stamped with the maker's details. The button has an inscripton and image. Made by Harvey's Outfitters in London. The button has images and text. The epaulettes belonged to Dr W R Angus and are now part of the W. R. Angus Collection.“HARVEYS’ / NAVAL OUTFITTERS / 15-16-17, London St / LONDON E.C.3. / TELEPHONE / ROYAL 3248” Button; Inscription and image [indecipherable] Button is embossed with images (anchor, serpent, flag) and text "B. 'G. "flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, flagstaff hill maritime museum and village, dr w r angus, w.r. angus collection, badge, insignia, badge collection, epaulettes, naval epaulettes, naval insignia, shoulder boards, ss banffshire, t.s.s. largs bay, uniform, harvey's naval outfitters, london street london

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. Ladies’ Edwardian mourning outfit; three-piece tailored suit comprising of a black silk long sleeve, short-waist fitted and lined Jacket, a long sunray pleated skirt and long, lined petticoat. Items have been machine-sown and hand-sewn by a dressmaker. The skirt has handmade buttons of the same fabric.Handwritten in ballpoint pen “Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria

This Edwardian era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death occurred often to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were a part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The black silk tailor-made jacket is one of three pieces of a ladies’ Edwardian mourning outfit. It has long sleeves, a stand-up collar trimmed with appliqued black crochet lace, and pleated sashes on the left and right sides from front to back fastened at the shoulder and waist. The jacket has a peplum or flounce below the waistline. The front of the jacket has brass hooks and fabric eye fastenings. The back of the jacket has two tails. The jacket is lined and the shoulders are padded. It has been machine sewn and finished with hand stitching. A white card is tied with a ribbon inside and has an inscription. The poplin skirt on the jacket has been cut up to the waist at the side seams. There is an attached card with an inscription, handwritten in ballpoint pen.“Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, sunburst pleats, western district victoria, mourning jacket

This amphora or jug, with a silhouette shaped like a woman with hands on hips wearing a long flared-out skirt. The design was used in ancient Greece for pottery storage jars, the neck being narrower than the body. The amphora was discovered by Joe O'Keeffe in 1934 in a sand blowout west of Levy's Point west of Warrnambool while he was planting marram grass for Mr Duncan. An article in the Warrnambool Standard newspaper of December 21, 1985, states that the amphora may be linked to the wooden sailing ship called the Mahogany Ship (also called the Ancient Wreck). Thermoluminescence testing indicates the relic was made in the mid-to-late 1800s and experts suggest it was of North African origin. The presence of the amphora in the sand dunes, and the amphora itself, are still a mystery. The amphora was donated to Flagstaff Hill on a long-term loan by the Duncan family and displayed to the public for the first time on December 21, 1985, until February 2023 when the display was returned to storage to rest with the redevelopment of the Assistant Lighthouse Keepers Cottage (Shipwreck Museum). An extensive search for members of the Duncan Family has been undertaken by Flagstaff Hill and stakeholders to resolve the loan term loan, but the family is not known. As such to properly care for the amphora, it has been registered until ownership can be determined.The object is significant for its possible link to one of Victoria’s and Australia’s maritime mysteries, the Mahogany Ship (also known as the Ancient Wreck). It is one of very few known relics that could give evidence of the existence and history of the vessel. It is listed on the Victorian Heritage Register S438 as it is one of Victoria’s oldest recorded shipwrecks. The identity of the vessel has the potential to change Australia’s history.Amphora or jug; earthenware, orange clay with areas of cream. The vessel has a wide mouth, a deep lip, two opposing handles between the neck and shoulder, and a bulbous body. The curved handles have a design of six bands between them. There are three rings of small dots encircling the body. The underside has concentric circles in the clay, uneven edge and pinhole markings. Pinhole patterns: [3 holes above 3 holes] opposite [3 holes above 3 holes], 1 hole] [ 1 hole above 2 holes]flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, amphora, jug, mahogany ship, ancient wreck, joe o'keefe, duncan, thermoluminescence, north africa, levy point, pottery, storage jar

The donor (a local resident.) of this coin found this penny token coin in the sand dunes of Lady Bay, Warrnambool, in 2023. The coin could have come from a local shipwreck, passengers, or members of the community. Trade was carried out along the southwest coast of Victoria between Melbourne and Portland, with the Port of Warrnambool receiving passengers and goods by coastal traders, the steamboat that set off from ports every few days. One such vessel was the steamship SS Edina that made her first voyage from Melbourne to Portland in 1863. For around a decade or so in the Gold Rush period in Australia there was a shortage of official government currency. It was acceptable during this time to use token coins minted by local businesses to be used within their store, much like the loyalty and rewards cards that businesses give their customers in modern times. The tokens were also a good way to advertise their wares and details. The first token was introduced in Melbourne in 1848 and were used until 1868, when they became illegal in New South Wales. They were minted in Australia and overseas. The token was issued by Robert Hyde & Co. who traded in second-hand goods such as old clothes, sheets, metal items and glass, which they resold to be re-manufactured, or "recycled".A token such as this one identifies businesses existing in the post-Gold Rush period in Australia. Round copper coin. Penny token coin bearing the Australian Coat of Arms and motto. The coin also has the company's name, location, nature of business and motto. The coin has grooves around the edge. It was made in 1861.OBVERSE: Logo: (Australian Coat of Arms), Motto: "PEACE & PLENTY", Date: 1861 REVERSE: "ROBERT HYDE & CO MELBOURNE", "GENERAL MARINE STORE, SHIPPERS OF RAGS GLASS METALS &.C"flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, merchant token, melbourne, token, australian token, trade token, coins, merchants, medal, colonisation, gold rush, robert hyde & co., general marine store, shippers of rags glass metals etc., numismatics, second-hand scrap, scrap goods

This item is part of the collection of Ecclesiastical Linen once used by St. Andrews Anglican Church on the corner of the Esplanade and 14 Drummond St, Dennington, Victoria. The first Anglican service was conducted on December 22nd, 1907. The church was decommissioned in January 2003. This item is part of the Ecclesiastical Linen collection, which is significant for its examples of handworked embroidery and drawn-thread work from the early 20th century. The items are also examples of a collection used for religious services during this period. The Ecclesiastical Linen is also significant for its association with the early development of the local township of Dennington and the importance the the community of setting aside land in the 1850's for the purpose of religious worship. The Ecclesiastical Linen is also significant for its connection to St Andrews Anglican Church, Dennington. The church was funded and attended by the local community in the early 1900's and is now listed on the Victorian Heritage Database (VHD 118083) as a building of historical and social significance. Goblet cover, part of a set of Ecclesiastical Linen once used in St. Andrew's Anglican Church, Dennington, Victoria, between the years 1907 and 2003. The fine white linen cover is made from two pieces of fabric and shaped like a pocket with rounded corners. it has been hand stitched.flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, st andrews anglican church dennington, dennington church, warrnambool church 1907, ecclesiastical linen, communion linen, hand worked linen, religious service, religious ceremony, ceremonial linen, needlework, fine linen, goblet cover

This item is part of the collection of Ecclesiastical Linen once used by St. Andrews Anglican Church on the corner of the Esplanade and 14 Drummond St, Dennington, Victoria. The first Anglican service was conducted on December 22nd, 1907. The church was decommissioned in January 2003. This item is part of the Ecclesiastical Linen collection, which is significant for its examples of handworked embroidery and drawn-thread work from the early 20th century. The items are also examples of a collection used for religious services during this period. The Ecclesiastical Linen is also significant for its association with the early development of the local township of Dennington and the importance the the community of setting aside land in the 1850's for the purpose of religious worship. The Ecclesiastical Linen is also significant for its connection to St Andrews Anglican Church, Dennington. The church was funded and attended by the local community in the early 1900's and is now listed on the Victorian Heritage Database (VHD 118083) as a building of historical and social significance. Baptismal towel cover, part of a set of Ecclesiastical Linen once used in St. Andrew's Anglican Church, Dennington, Victoria, between the years 1907 and 2003. The white linen cover is made like a bag. it has an inscription. The bag has a press stud closure.In black pen "BAPTISMAL TOWEL"flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, st andrews anglican church dennington, dennington church, warrnambool church 1907, ecclesiastical linen, communion linen, hand worked linen, religious service, religious ceremony, ceremonial linen, needlework, fine linen, towel cover, baptismal towel cover, baptism service

This Marching Bass Drum is mid-size at 68 cm; these drums can range from 35 to 81 cm (14 to 32 inches). A Marching Bass Drum is slightly smaller than a Concert Base Drum and larger than a Kit or Drum Set Bass Drum. The drum is supported by a shoulder harness with a pin that connects to the eyelet incorporated on the shell of the drum, which keeps the drumheads vertical. The drum is played with one or two felt-covered drum mallets. The six tension rods connected between the drumheads can be screwed tighter or looser to change the tension of the calfskins on the drumheads, which changes their tune. This Marching base drum was made in the early 1920s by the firm Ludwig & Ludwig of Chicago, Illinois, USA. LUDWIG & LUDWIG: - William F. Ludwig was a professional drummer. He and his brother Theobold established the Ludwig & Ludwig drum factory in Chicago in 1909. They became famous for their invention of a bass drum pedal that could play faster beats on the bass drum. Theobald passed away in 1918. By 1923 Ludwig was the biggest drum manufacturer in the world. William continued on when his business was bought by C.O. Conn, but in 1937 he left to begin his own company; the WFL Drum Company. William and his son Bill purchased the Ludwig & Ludwig name back from Conn, and the name William F. Ludwig II continued on. The brand was sold to the Selmer Company and moved to Monroe, North Carolina in 1998, at the time of the 75th anniversary of the Ludwig name. Ludwig drums are still being manufactured over 100 years later. Many famous musicians and bands played the Ludwig bass drum, including Ringo Star who was the drummer in the 1960’s group The Beatles.This marching bass drum is significant for its connection to Ludwig & Ludwig, a famous and popular drum manufacturer established in 1909. The firm was once the largest drum manufacturer in the world. It is known for supplying drummers of fame, such as Ringo Star of The Beatles. This is the only drum in our collection. It is also rare, having only six tension rods, where most have from eight to twelve.Marching Bass Drum; the polished shell around the body is one continuous sheet of timber that has been steamed, shaped into a cylinder and joined together. The drumheads on the sides of the shell are strong timber strips joined into hoops that hold stretched, hand-painted white calfskin. Six Long Tube threaded nickel-plated brass tension rods are evenly spaced around the drumheads between the drumheads. A brass eyelet is fitted into the shell halfway between each drumhead, providing a connection point for the drummer’s shoulder harness. The eyelet has an indecipherable inscription. An oval brass plaque with a central formed hole has a stamped inscription. The imperial size is 27 x 13 inches. The drum was made by Ludwig and Ludwig, Chicago, Illinois, in early 1920's. On brass plaque; “LUDWIG / TRADE MARK / LUDWIG & LUDWIG / CHICAGO”flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, shipwreck artefact, marching drum, bass drum, marching bass drum, pitched drum, band drum, drum mallet, marching band, military band, percussion instrument, calfskin, shoulder harness, ludwig & ludwig, wfl drum company, william f. ludwig, chicago, north carolina, the beatles, tension taps, tension rods, drum pedal, long tube tension rods

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

This bolster sham is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes and household linens - adding her own handmade embroidered or crocheted decorative trim. Most beds during the late 19th and early 20th century had a feather, hair or spring mattress covered by a blanket and topped with an under sheet, an upper sheet, several blankets and a bedspread. A flat bolster could be placed either under the pillows or on top of the pillows with a decorative sham. Washing pillows and quilts by hand would have been a very onerous task (involving heating water and handwashing in a tub or using a copper) and so it became the practise of many housewives to cover the pillows and bolsters with an outer slip (or sham) of washable material which could be easily removed and washed when needed. If the bolster was kept under the pillows it wouldn't need to be very decorative but many shams or slips that were "on show" were often highly decorated with embroidery, pintucks, ribbons or lace. This bolster sham is machine made and quite plain with the exception of some pintucking and eyelet lace on each end which suggests that it would mostly be hidden under the top pillows with just the decorative edges on display.This item is an example of the needlework skills of women in the early 20th century - combining machine stitching with hand embroidery to personalise and embellish a practical domestic object. It is also significant as an example of an early 20th century innovation that helped make the working lives of housewives a little bit easier.A long white cotton rectangular bolster sham, machine sewn, with seven ties and two buttons (plus one missing button) to enable it to be folded over lengthwise and closed. It has two pull string ties near each end to enclose a bolster and is finished with a decorative edge of pintucks and handmade eyelet lace and embroidery.flagstaff hill maritime museum and village, eliza towns, sham, bedding, great ocean road, shipwreck coast, warrnambool, household textiles, sewing, bolster sham, housework, pillow sham, charles towns, nhill, haberdashery, needlework, manchester, handmade, household linen

This wooden shield was used in hand to hand fighting between Jaara people and other tribes and with European settlers. It was made for personal use by one warrior and would have been passed on to his next nearest male kin. If it did not fit them, it would have been placed with the body of the warrior.This shied was gifted to Uncle Brien Nelson when he was working in Portland. This wooden fighting shield is undecorated and fashioned for use in either the left or right hand. It is elongated finishing in points at the top and bottom. It is carved from a single piece of wood and has a handle carved into the back. The shield has some minor striations on the front which may have been produced during fighting

The Ballarat Technical Art School made many honour boards for schools and organisation in Victoria and interstate. Their own was made, but the names were not listed. The Ballarat School of Mines Annual Report for 1921 states: 'It has been decided, for the present, to record the names of our students who served in the warm, in an Honor Book, and to defer the erectin of an Honor Board until we can feel ssured that the Roll is complete. the wide spread occupations of our students has rendered it very difficult for us to secure detailed information of their service. A handsome Honor Book and Case has been designed and executed by the staff ad students of the technical Art School, and the engrossing of the names and military records will be proceeded with as soon as possible. The Technical Art School was quite busy with commissions. The SMB Annual Report of 1918 states: 'under the direction of the Art principal (Mr H.H. Smith), the work of the Art School continues to receive wide public recognition. Handsome Honor Boars have been designed and executed for the Sydney Sports' Club, the St Arnaud High School, the Birregurra State School, the Wendouree State School and the Ballarat Old Colonists' Club. The School also designed the certificates for the Young Workers' Patriotic Guild, the 'Herald" Shield for perpetual competition at the technical Schools' athletic meetings, the "Hansen" Shield for competition among the Northern District High Schools, two metal tablets for the Castlemaine high School, and a certificate for the Grampians Secondary Schools' Association. Numerous Honor Books and Mural cases have also been designed for State Schools.' Over 400 former students and staff of the Ballarat School of Mines served during World War One. The 1920 SMb Students' Magazine said' 'Many students left Australia with the first Contingent, and since then, the School has been represented on every field where Australians have fought, from the first landing at Gallipoli to the decisive victory on the 8 August 1918.' The influence of the school was appropriately shown in the fact that at least 13 of its students were officers in the Australian Mining Corps. The title page has the initials 'D.J.' which most probably stands for Donald I. Johnston, a teacher with the Ballarat Technical Art school from 1920 to 1949. The Ballarat School of Mines World War 1 Honor Book remained uncompleted for more than 90 years. The names of over 400 SMB staff and students who served their country were not inscribed until 2012, despite names, ranks and service records being compiled. A restoration project was instigated as part of the 140th anniversary of the Ballarat School of Mines in 2010. Names were inscribed into the book by Calligrapher Lyn Forrester. The University of Ballarat believed this project is important not only to SMB's history, but the families and descendants of those who served while studying or teaching at SMB. The restoration project involved names being hand written in calligraphy into the Honor Book and was funded with the assistance of the 'Restoring Community War Memorial Grant'. The memorial was designed and made by the staff and students of the Ballarat School of Mines Technical Art School under the direction of Principal Herbert H. Smith. In 1921 the Ballarat School of Mines Annual Report recorded: "It has been decided, for the present, to record the names of our students who served in the war, in an Honor Book, and to defer the erection of an Honor Board until we can feel assured that the roll is complete. The wide spread occupations of our students has rended it very difficult for us to secure detailed information of their service. A handsome Honor Book and case has been designed and executed by the staff and students of the Technical Art School, and the engrossing of the names and miliatary records will proceed with as soon as possible. The Ballarat Technical Art School and was involved with the design and manufacture of numerous WW1 memorials. When it came time to complete their own memorial, the Principal died, and the Honor Roll must have been overlooked in the confusion that ensued. There have been numerous theories about why the Honor Roll was never completed, one being that it was because the SMB Principal, Maurice Copland, literally worked himself to death organising repatriation classes for ex-soldiers who attended SMB. The Courier of 18 November 1922 said of Maurice Copland: “He put his very best into the work for the welfare of the soldiers; in fact, he did too much for the good of his physique, for he wore himself out in the services of the returned men. If ever there was a war victim the late Mr Copland was one. But for the stress of work entailed by those repatriation classes and the amount of general war work which he performed Mr Copland would probably have been with them today." Understandably, SMB was thrown into some disarray by their Principal's death and the Honor Book was not completed. The University of Ballarat would like to finally honor its SMB war veterans by completing the Honor Book and as a further mark of respect, dedicate the project to Maurice Copland. The Ballarat Technical Art School undertook many honor boards. The Ballarat School of Mines Annual Report 1918 states: "Under the direction of the Art Principal (Mr H.H. Smith), the work of the Art School continues to receive a wide public recognition. handsome Honor Boards have been designed and executed for the Sydney Sports' Club, the St Arnaud High School, the Birregurra State School, the wendouree State School and the Ballarat Old Colonists' Club. The School also designed certificates for the Young Workers' patriotic Guild, the "Herald" Shield for perpetual Competition at the Technical schools athletics meetings, the "Hansen" Shield for competition in the northern District High Schools, two metal tablets for the Castlemaine High School, and a certificate for the Grampians Secondary Schools' Association. Numerous Honor Gooks and mural cases have also been designed for State Schools." The 1920 Ballarat School of Mines Annual Report stated: Public appreciation of the High standard of design and artistic craft work produced by the students of the Art School, under the direction of the Principal (Mr Herbert H. Smith), continues to be demonstrated by the lage number of important commissions entrusted to the school, not only by the public bodies and business firms by the Education Department and public bodies all over the State." "Amongst the important local commissions received during the year was the designing and supplying of the Municipal Council's Address of Welcome Casket for presentation to His Royal Highness the Prince of Wales, the designing and supervising of a large four-light stained glass window for the Lydiard Street Methodist Church, ... and supply numerous honor books, honor boards, etc., for public institutions and school." "The School has been honored by, and has acceded to the request of the Education Department to supply designs for the title page, chapter headings and initial letters for the War Service Book which it is about to publish, Mr F. Tate, director of Education, recognising the students' work in this direction by an appreciative letter of thanks. The Education Department has also been instrumental in directing to the School applications from all parts of the State, including Melbourne, for the School to supply competitive sports shields, honor boards, books and designs for certificates, and various decorative objects. The School has therefor been responsible for much work coming to local Ballarat firms which would otherwise have found its way to Melbourne or other centres. In 2011, as the result of a 'Restoring Community War Memorials Grant' calligrapher Lynton Forrester was commissioned to record over 400 names into the honor book. A red leatherbound Ballarat School of Mines Honor Book. The book includes a title page relating to the Ballarat School of Mines and Industries. The Ballarat School of Mines Honor Book was not finally inscribed with names until 2011-2012. world war one, ww1, ballarat school of mines, world war 1, world war i, honour roll, calligraphy, don johnston, honor book, honor roll, copeland, maurice copeland, honour book, roll of honour, percy coltman, arthur e. tandy, leslie coulter

This cake stand was hand turned from osage orange wood. The wood was sourced from a grove of osage orange trees in the Fisken/Taverner Street area. This grove was planted by Mr A C Simon, an orchardist, who brought the seeds from North America in the 1860's to create a protective hedge for his plants The wood from these plants produces a beautiful toned affect of dark brown and yellow/orange when turned and polished. The significance of this cake stand is that it has been carved from the osage orange which grows well in Bacchus Marsh although originated in America. Mr Simon made many items from this wood. This gives it local significance.This polished wooden stand would have been used for cake to be displayed It consists of a round 'plate' of wood as the top, with a fine narrow turned wood pedestal and a round base. The stand is made of osage orange giving it the unique tones of dark brown and orange wood.turned wood, osage orange, food stand, food display, brown orange wood, wooden, cake stand, parlour item, table centre piece, polished wood, ornamental stand

Domestic item that has been hand made for a specific purpose for toasting food over coals or an open flame. Adjustable two tines/prongs toasting fork with side holding flangesdomestic, kitchen, item, food, toast, wire, cutlery, fork, homemade

Aunt Fanny gave 6 yds of her "Bucks pattern" lace to Gillian Davis for her 21st birthday. This lace is very difficult to make, as there is a thick thread to keep exactly the same tautness as the fine thread. Aunt Fanny was about 77 when she made this.A fine example of womens hand craft from the late 19th and early 20th Century1 bundle of cream bobbin "Bucks pattern" lace which has a thick thread through it at exactly the same tautness as the fine thread. 2nd bundle of cream lace made by another method, possibly crochet.hand craft, lace bobbin

The box is made from light weight timber and only joined by nails at the sides and base. It was made for holding 1 Dozen (12) 8 ounce (250g) cartons of cheese. It appears, by the hand written label “POISONS FOR PESTS” that it was later used for storage of pesticides. Kraft Walker Cheese Company Pty. Ltd, was established in Melbourne in 1926 by Fred Walker (creator of Vegemite). In 1934 the company leased the cheese plant of the Warrnambool Cheese Factory at Warrnambool. Fred Walker died in 1935. In 1950 the company changed its name to Kraft Foods Limited. It is likely that this box was locally purchased in Warrnambool by the household of Dr Angus and the cheese used for their personal consumption. This box 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 as a Surgeon Captain during WWII1942-45, 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”. This box is of local and state significant for its association with the W.R. Angus Collection and with the local Kraft Walker Cheese Company in Allansford, and for being a company that began in Melbourne. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Box, wooden, part of the W.R. Angus Colleciton. Small wooden rectangular box without a lid, sides and base joined by nails. It once contained Kraft Cheese, as per the stenciled printing on the sides of the box in red and black. Later a hand written label has been attached to one end indicating that it was used for storing poisons. C. 1926 - 1950Label, hand written, attached to end; "POISONS FOR PESTS". Stencils printed in red and black "THE WORLD RENOWNED / KRAFT WALKER CHEESE COY PTY LTD" "PATENTED JULY 26 1916", "GUARANTEED TO COMPLY WITH ALL THE FOOD LAWS", "1Doz 8oz CARTONS", "BLENDED / PASTURISED / PACKED"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, kraft walker cheese company pty ltd, cheese box, cheese crate, kraft cheese crate, cheese box 1926 - 1950, kraft cheese, kraft walker cheese co allansford, kraft walker cheese co warrnambool, fred walker, label poisons for pests, poison storage

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.Myoora - Victorian Heritage Register (VHR) Number H0490 https://vhd.heritagecouncil.vic.gov.au/places/275 (as at 6/10/2020) Myoora, 405 Alma Road, North Caulfield, was designed by Reed, Henderson & Smart and can be attributed to Anketell Henderson. It was built in 1886 and 1887 for Thomas Christian, who had founded the fabled gold mine, the Day Dawn at Charters Towers. He never occupied the house although his widow lived there for some time. The house was subdivided into three and later six flats. Myoora was one of many large mansions on broad acres with gardens in Caulfield. Perhaps the grandest was Labassa. The mansions date from the 1850s through to the late 1890s. The siting of Myoora on a ridge influenced its planning and composition. A central hall and corridor along the ridge is entered from the centre of the more formal north facade. The entrance is marked by an elaborately detailed tower. A stair turret provides a second accent. The western end of the building is completed by a massively detailed chimney as the service wing. The south facade enjoyed an outlook to port phillip from a two-storey cast iron verandah. Bay windows, chimneys, the tower and the turret and minor details are brought together in a sophisticated asymmetrical composition. This is reflected in the planning. The asymmetry of Myoora pivoting on the tower is the most notable feature of the building. The walls are built of cement rendered brick. The cement render has not been painted. The roof is slate. The balconies and verandah are cast iron. The footings and cellar are bluestone. The architectural firm Reed, Henderson & Smart was very prominent in Victoria in the nineteenth century. Anketell Henderson was an eminent and well respected member of the profession. He worked successfully in London and interstate as well as in Victoria. They were better known for commercial and public buildings. Myoora is an important private commission. The style of Myoora is a combination of details from the Continental and English Renaissance through the boom style and the Queen Anne style. There is also an early influence from the American Romanesque style especially in the stair turret. The latter style was important at the turn of the century and Myoora is a significant precursor. Other buildings of a similar scale survive in Caulfield and elsewhere. Labassa, the most fabulous, is quite different stylistically as are most of the other comparable mansions. Stonnington is perhaps closer but relies on different details from the Queen Anne style and lacks any American influence. For its historical associations through its owners and architects, for its style and composition and for its intactness, Myoora is significant at a State level. The craftmanship of Myoora is what could be expected of a building of the time and type. It is relatively intact and in fair condition. The main staircase has been removed, minor alterations to decorative features have occurred and additions have been made to the exterior.Page 8 of Photograph Album including four black and white photographs. Three photos are in a portrait orientation, one on the left hand side of the page with the other two in the bottom part of the page. One photograph in a landscape orientation is on the top right hand side of the page. Handwritten: "Myoora" 405 Alma Rd [top right hand corner] / Neg 179 DEC 1972 [underneath bottom left photograph] / Neg 180 DEC 1972 [underneath bottom right photograph] / 8 [bottom right]caulfield north, trevor hart, alma road, mansion, myoora, tower, thomas christian, 1880's, queen anne, cement rendered brick, unpainted, balconies, verandahs, anketell henderson, continental and english renaissance, american romanesque, views, cast iron work, reed henderson & smart, flats, gardens, asymmetrical style, slate roofs, entrances

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.Victorian Heritage Register (VHR) Number H0490 From the Victorian Heritage Register Database - Citation for Myoora https://vhd.heritagecouncil.vic.gov.au/places/275 (as at 6/10/2020) Myoora, 405 Alma Road, North Caulfield, was designed by Reed, Henderson & Smart and can be attributed to Anketell Henderson. It was built in 1886 and 1887 for Thomas Christian, who had founded the fabled gold mine, the Day Dawn at Charters Towers. He never occupied the house although his widow lived there for some time. The house was subdivided into three and later six flats. Myoora was one of many large mansions on broad acres with gardens in Caulfield. Perhaps the grandest was Labassa. The mansions date from the 1850s through to the late 1890s. The siting of Myoora on a ridge influenced its planning and composition. A central hall and corridor along the ridge is entered from the centre of the more formal north facade. The entrance is marked by an elaborately detailed tower. A stair turret provides a second accent. The western end of the building is completed by a massively detailed chimney as the service wing. The south facade enjoyed an outlook to Port Phillip from a two-storey cast iron verandah. Bay windows, chimneys, the tower and the turret and minor details are brought together in a sophisticated asymmetrical composition. This is reflected in the planning. The asymmetry of Myoora pivoting on the tower is the most notable feature of the building. The walls are built of cement rendered brick. The cement render has not been painted. The roof is slate. The balconies and verandah are cast iron. The footings and cellar are bluestone. The architectural firm Reed, Henderson & Smart was very prominent in Victoria in the nineteenth century. Anketell Henderson was an eminent and well respected member of the profession. He worked successfully in London and interstate as well as in Victoria. They were better known for commercial and public buildings. Myoora is an important private commission. The style of Myoora is a combination of details from the Continental and English Renaissance through the boom style and the Queen Anne style. There is also an early influence from the American Romanesque style especially in the stair turret. The latter style was important at the turn of the century and Myoora is a significant precursor. Other buildings of a similar scale survive in Caulfield and elsewhere. Labassa, the most fabulous, is quite different stylistically as are most of the other comparable mansions. Stonnington is perhaps closer but relies on different details from the Queen Anne style and lacks any American influence. For its historical associations through its owners and architects, for its style and composition and for its intactness, Myoora is significant at a State level. The craftmanship of Myoora is what could be expected of a building of the time and type. It is relatively intact and in fair condition. The main staircase has been removed, minor alterations to decorative features have occurred and additions have been made to the exterior.Page 16 of Photograph Album including three black and white photographs. Two are arranged in landscape orientation on the right hand side of the page with the other photo in portrait mode on the left hand side. Handwritten: views from "Myoora" 405 Alma Road [top right] / Neg 181 Dec 1972 [under left side photo] / Neg 189 Dec 1972 [under bottom right photo] / 16 [bottom right]caulfield north, trevor hart, alma road, mansion, myoora, tower, thomas christian, 1880's, queen anne, cement rendered brick, unpainted, balconies, verandahs, anketell henderson, continental and english renaissance, american romanesque, cast iron balconies, panoramic views, streetscapes, cast iron work, reed henderson & smart, gardens, asymmetrical style, slate roofs, chimneys

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages.Victorian Heritage Register (VHR) Number H0490 From the Victorian Heritage Register Database - Citation for Myoora https://vhd.heritagecouncil.vic.gov.au/places/275 (as at 6/10/2020) Myoora, 405 Alma Road, North Caulfield, was designed by Reed, Henderson & Smart and can be attributed to Anketell Henderson. It was built in 1886 and 1887 for Thomas Christian, who had founded the fabled gold mine, the Day Dawn at Charters Towers. He never occupied the house although his widow lived there for some time. The house was subdivided into three and later six flats. Myoora was one of many large mansions on broad acres with gardens in Caulfield. Perhaps the grandest was Labassa. The mansions date from the 1850s through to the late 1890s. The siting of Myoora on a ridge influenced its planning and composition. A central hall and corridor along the ridge is entered from the centre of the more formal north facade. The entrance is marked by an elaborately detailed tower. A stair turret provides a second accent. The western end of the building is completed by a massively detailed chimney as the service wing. The south facade enjoyed an outlook to port phillip from a two-storey cast iron verandah. Bay windows, chimneys, the tower and the turret and minor details are brought together in a sophisticated asymmetrical composition. This is reflected in the planning. The asymmetry of Myoora pivoting on the tower is the most notable feature of the building. The walls are built of cement rendered brick. The cement render has not been painted. The roof is slate. The balconies and verandah are cast iron. The footings and cellar are bluestone. The architectural firm Reed, Henderson & Smart was very prominent in Victoria in the nineteenth century. Anketell Henderson was an eminent and well respected member of the profession. He worked successfully in London and interstate as well as in Victoria. They were better known for commercial and public buildings. Myoora is an important private commission. The style of Myoora is a combination of details from the Continental and English Renaissance through the boom style and the Queen Anne style. There is also an early influence from the American Romanesque style especially in the stair turret. The latter style was important at the turn of the century and Myoora is a significant precursor. Other buildings of a similar scale survive in Caulfield and elsewhere. Labassa, the most fabulous, is quite different stylistically as are most of the other comparable mansions. Stonnington is perhaps closer but relies on different details from the Queen Anne style and lacks any American influence. For its historical associations through its owners and architects, for its style and composition and for its intactness, Myoora is significant at a State level. The craftmanship of Myoora is what could be expected of a building of the time and type. It is relatively intact and in fair condition. The main staircase has been removed, minor alterations to decorative features have occurred and additions have been made to the exterior.Page 18 of Photograph Album including four black and white photographs. All are arranged in landscape orientation with two on the top half of the page and the other two below.Handwritten: views from "Myoora" 405 Alma Road / [top right hand] / Neg 188 Dec 1972 [under top left photo] / Dec 1972 [under top right photo] / Neg 184 Dec 1972 [under bottom left photo] / Neg 168 Dec 1972 [under bottom right photo] / 18 [bottom right]caulfield north, trevor hart, alma road, mansion, myoora, tower, thomas christian, 1880's, queen anne, turret, cement rendered brick, unpainted, balconies, verandahs, anketell henderson, continental and english renaissance, american romanesque, cast iron balconies, panoramic views, streetscapes, cast iron work, reed henderson & smart, asymmetrical style, gardens, slate roofs

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Caulfield Town Hall is now known as Glen Eira Town Hall.From Victorian Heritage Database: Citation for Town Hall, Corner Glen Eira and Hawthorn Roads - HO106 https://vhd.heritagecouncil.vic.gov.au/places/43613 as at (19/10/2020) The former City of Caulfield (now City of Glen Eira) Municipal Offices, located at the south-west corner of Hawthorn and Glen Eira Roads, Caulfield South, were commenced for the Borough of Caulfield in 1884 when they also included a Post and Telegraph Office and Court of Petty Sessions. They were designed by the Borough surveyor, Sydney Smith. The hall was completed in 1890 to the design of Alexander Rankin and the present hall, foyer and portico completed to the design of Goldsmith and Jenkin, architects, in 1931. The complex is historically, aesthetically and socially significant. It is historically significant {Criterion A) as the centre of Local Government services in the area since 1885 and as a centre of post and telegraph and legal services for a period. Its association with architect and Borough surveyor, Sydney W. Smith is important in that the east elevation and facade (ground floor level only)as far west as the tower (lower two stages) survive as evidence of his work, the practice which his son continued after his death in 1886, becoming highly successful. The work of Goldsmith and Jenkin is historically important in that it indirectly demonstrates the growth of the City sustained during the Inter-war period, the work proceeding in spite of the Depression. It compares with other similar work of that time including the refurbishment of the Malvern Municipal Offices and Hall in 1927 (Hudson and Wardrop), the Melbourne Corporation Offices and Hall in 1925-28 (Stephenson and Meldrum, A. and K. Henderson) and the Camberwell Offices and Council Chamber in 1924 (Leighton Irwin and Roy Stevenson), other comparable municipal projects being undertaken during the 1930s. Finally, the Goldsmith and Jenkin works are important as a project of the Depression years organised specifically to alleviate unemployment problems in the Municipality. The complex is aesthetically important (Criterion E) as a prominent and imposing Classically derived complex of its type with individually noteworthy interior spaces being the entry hall and staircase, main Hall, Foyer and Council Chamber. The Adamesque plasterwork, timber panelling and furniture, Art Nouveaux enrichment and Classically derived treatment with sparing use of Australian decorative motifs are contributory elements. Exterior .elements of note include the remains of the original design prepared by Sydney Smith and the clock tower and portico which have come to symbolise important Municipal complexes erected prior to the Second World War. The complex is socially important (Criterion G) for the value placed on it by the community which has made use of it for activities including that of Local government for well over a century.Page 74 of Photograph Album with four photographs (three portrait and one landscape) of different views of the Caulfield Town Hall.Hand written: Caulfield Town Hall cnr Hawthorn & Glen Eira Rds [top right] / 74 [bottom right] trevor hart, caulfield, glen eira, caulfield town hall, sydney smith, sydney w smith, municipal, adamesque plasterwork, adamesque, art nouveaux, portico, council chambers, alexander rankin, foyer, local government, timber panelling, tower, unemployment, clock tower, hawthorn road, glen eira road, city of glen eira, municipal offices, post and telegraph office, goldsmith and jenkin, courthouses, surveyors, architects, classical architectural style, streetscapes, gardens, cars, glen eira town hall, depression 1929-1939

This photograph is part of the Caulfield Historical Album 1972 but is noted as taken in 1922. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Caulfield Town Hall is now known as Glen Eira Town Hall.From Victorian Heritage Database: Citation for Town Hall, Corner Glen Eira and Hawthorn Roads - HO106 https://vhd.heritagecouncil.vic.gov.au/places/43613 as at (19/10/2020) The former City of Caulfield (now City of Glen Eira) Municipal Offices, located at the south-west corner of Hawthorn and Glen Eira Roads, Caulfield South, were commenced for the Borough of Caulfield in 1884 when they also included a Post and Telegraph Office and Court of Petty Sessions. They were designed by the Borough surveyor, Sydney Smith. The hall was completed in 1890 to the design of Alexander Rankin and the present hall, foyer and portico completed to the design of Goldsmith and Jenkin, architects, in 1931. The complex is historically, aesthetically and socially significant. It is historically significant {Criterion A) as the centre of Local Government services in the area since 1885 and as a centre of post and telegraph and legal services for a period. Its association with architect and Borough surveyor, Sydney W. Smith is important in that the east elevation and facade (ground floor level only)as far west as the tower (lower two stages) survive as evidence of his work, the practice which his son continued after his death in 1886, becoming highly successful. The work of Goldsmith and Jenkin is historically important in that it indirectly demonstrates the growth of the City sustained during the Inter-war period, the work proceeding in spite of the Depression. It compares with other similar work of that time including the refurbishment of the Malvern Municipal Offices and Hall in 1927 (Hudson and Wardrop), the Melbourne Corporation Offices and Hall in 1925-28 (Stephenson and Meldrum, A. and K. Henderson) and the Camberwell Offices and Council Chamber in 1924 (Leighton Irwin and Roy Stevenson), other comparable municipal projects being undertaken during the 1930s. Finally, the Goldsmith and Jenkin works are important as a project of the Depression years organised specifically to alleviate unemployment problems in the Municipality. The complex is aesthetically important (Criterion E) as a prominent and imposing Classically derived complex of its type with individually noteworthy interior spaces being the entry hall and staircase, main Hall, Foyer and Council Chamber. The Adamesque plasterwork, timber panelling and furniture, Art Nouveaux enrichment and Classically derived treatment with sparing use of Australian decorative motifs are contributory elements. Exterior .elements of note include the remains of the original design prepared by Sydney Smith and the clock tower and portico which have come to symbolise important Municipal complexes erected prior to the Second World War. The complex is socially important (Criterion G) for the value placed on it by the community which has made use of it for activities including that of Local government for well over a century.Page 75 of Photograph Album with one portrait photograph of the exterior of Caulfield Town Hall taken in 1922.Hand written: FEBRUARY 1922 [under photo] / 75 [bottom left] trevor hart, caulfield, glen eira, caulfield town hall, sydney smith, sydney w smith, adamesque plasterwork, art nouveaux, portico, council chambers, alexander rankin, foyer, local government, timber panelling, tower, unemployment, clock tower, hawthorn road, glen eira road, city of glen eira, municipal offices, palms, gardens, post and telegraph offices, goldsmith and jenkin, architects, city of caulfield, ivy clad walls, surveyors, depression 1929-1939, glen eira town hall

Willgodt T. Odhner invented his very successful “pinwheel” four-function calculator mechanism in Russia in 1874, and his invention was cloned by numerous companies, resulting in dozens of similar models that remained in wide use for almost a century. Numbers are dialed into the sliding levers on the top part of the machine, and are added to the register visible in the carriage at the bottom when the large crank is turned. Shifting the carriage sideways allows multiplication through a sequence of addition operations; the two small cranks zero the registers. The design includes ingenious error-preventing interlocks between all the controls: should the operator fail to return a crank to its resting position, the other controls are frozen until this is corrected. A bell indicates calculations in the negative. Used in Ballarat Institute of Advanced Education (B.I.A.E) Physics department.Black, mechanical calculating machine. Metal. Hand-operated, with three hand-cranks. 10x10 rotor with 13 digit result. Ser. No. 29-286781.5 Black symotape on base front: "PHYSICS". Maker's identification on top surface. Supplier's label (metal, silver & blue) on back: "STOTT & HOARE Pty. Ltd. 171 William St. Melbourne C1 M1991". Stamped on rear panel: "MADE IN SWEDEN". Cast lettering on underside: "M-602 07".calculating machine, pinwheel, calculator, scientific instruments, stott & hoare pty ltd, physics, odhner, ballarat institute of advanced education

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Black and white photograph of a man and a woman standing in front of a house. The man is dressed in a band uniform with hat and the woman is dressed in a dark above the ankle length dress. The woman is Laura Wright and the man is Frank Wright. The house is "Dalbrao" at Northcote Hand written on back - Laura Wright 25, Frank Wright 20, "Dalbrae", St Georges Road, Northcote, Melbourne, Taken by Vernon Holt, 9/4/22laura wright, frank wright, dalbrae, vernon holt, cornet, band

In 1906 the Ballarat Progress Association commissioned Powell and Co. to publish a booklet called Guide to Ballarat the Beautiful.This booklet contained many photographs (including coloured photography) and description of businesses and icons of which inhabitants of the city could be proud. Berry, Anderson & Co. were commissioned to produce: 1918 Beautiful Ballarat: The City of Charm & Beauty and 1923 Beautiful Ballarat: The City of Charm and Beauty. http://bih.ballarat.edu.au/index.php/Ballarat_Progress_Association The card was made out to Frederick Martell who was registrar of the School of Mines Ballarat (SMB). W. Coulthard was secretary of the Ballarat Progress AssociationTwo cream cards with black print and some hand writing 12067.1 Cream front and verso 12067.2 Light brown with cream strip on right hand side , cream verso12067.1 24 Sept 07 hand written in black ink towards top right hand side of card. "Election of officers etc" hand written towards bottom middle of card. "Mr Martell" hand written in black ink on verso 12067.2 "June 10th 1907 hand written in black ink on front. Mr Martell handwritten in black ink on backballarat-progress-association, martell, coulthard, meeting-notice, 1907, frederick martell, ballarat progress association

The Ballarat School of Mines was established in 1870,. It was the first School of Mines in Australia. The Associateship was held in high regard and recognised throughout the world. Stanley Browning Vial is listed no the Ballarat School of Mines Associateship Roll for 1903. Printed certificate on vellum, with handwritten details. The certificate was made out to Stanley Browning Vial, and signed by President of Council Andrew Anderson and Vice President J.M. Bickett.All names have been crossed out, the seal has been removed and hand written in red is the word 'cancelled'.ballarat school of mines, associateship, vial, anderson, bickett, stanley browning

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in AustraliaBlack and white formal photograph of a man dressed in a dinner suit and holding a trumpet in his left hand and a baton in his right hand. The man is Frank Wright.frank wright, conductor, ballarat, trumpet