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Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Weekly Times Newspaper, 1956
Also two copies 04352.1 12 x 18 cm and 04352.2 10 x 15 cmBlack and white photograph of thirty five members of Country Womens Association taken at their twenty first birthday celebrations identified are inside back row Vera Harbeck dark hair and glasses and Rita Lawson short hair, Centre Back Eva Hetherington nee McGuiness of Merrangbaur House with dark hat floral dress Inside back row from right Mrs V Paton white hat and necklace dark rimmed glasses In front of Mrs Paton Mavis Smith floral dress, In front of Mavis, Barbara Ray short hair white earrings Extreme right Miss Bertha Hansen of Venga Guesthouse, Senior woman in front Mrs Stanbury mother of Elsie Ball Victoria House Elsie Mai Bell Fashions, at Lakes Entrance Victoriatransport, entertainment, businesses -
Bendigo Historical Society Inc.
Domestic object - Wash Tub
Before hot and cold water was easily available children were bathed in small tubs. An oval metal wash tub. The base has a four centmetres metal band around it that extends two and a half centimetres below the bottom of the tub. The bottom of the tub is an oval 50 centimetres long and 40 centimeters wide. The wall is 29 centimetres high with rolled rim half a centimetre wide on the top, it's made in two pieces that are folded together at each end. The top of the tub is an oval 62 centimetres long and 49 centimetres wide. There are identical metal handles at the top of the tub at each end, they are made of a one centimetre diameter metal rode, they have a nine centimetres long grip, a four centimetre piece at right angles on each end and a two centimetre long piece at the opposite right angle on the end which is inserted into a two centimetre loop that's attached to the tub. wash tub, personal hygiene -
Kiewa Valley Historical Society
Tin Tobacco, Mid to late 1900s
The British Australasian Tobacco Co. (based in Melbourne and Sydney. The parent company was founded in England, circa 1902). This item "HAVELOCK" is one of many ready rubbed tobacco tins produced by the British Australasian Tobacco Company.The ready rubbed tobacco held within the tin was mainly used by those smokers who rolled their own cigarettes. These smokers would have mainly used their palm and formed a cup then placing their choice of the amount of tobacco to be rolled. This would then be placed on the fine cigarette paper and rolled and sealed (using saliva in the mouth) into the required shape. There were mechanical "roll you own" gadgets on the market but most rural users, especially males used their palms. The quantity of tobacco used to make up the cigarette was up to the individual user. The thinner that the cigarette was rolled the longer and more economical did the supply last. The by -products of this method were nicotine stained fingers and hands. "Chain" smokers were easily identified and could therefore be discriminated against obtaining smoke sensitive employment. The two world wars (1914-18 and1939-45) produced a significant rise in the consumption of cigarette use by men and the eventual overflow to women. Cigarette smoking before the 1900s was seen as rough and uncouth (socially frowned upon), however after the introduction of overseas films (U.K. and U.S.A.) and film stars presenting smoking as socially acceptable, the rise of smoking cigarettes, especially roll you own (American western movies) in rural areas was an accepted way of life. Things however started to change in the mid 1900s when medical evidence pointed to the health problems of regular smokers. Governments were now implementing non smoking education material. Restrictions on where and when smoking was permitted and acceptable started to creep into all areas of society whether city or rural. This was the era that highlighted the use of roll your own cigarettes, especially when the costs of "tailor made" cigarettes were taxed at an increasing amount. Roll your own cigarettes also provided an avenue for the consumption of illicit drug use.The significance of this ready rubbed tobacco tin to this rural region is, stems from how much influence that the Western novels and overseas films (portraying rural lifestyles) played in shaping the rural social and working mores of the Kiewa Valley. The post war depression (financially) resulted in more smokers turning away from expensive machine (tailor) made cigarettes to the roll your own, using ready rubbed tobacco. This tobacco tin relays a long ago era, when personal contact, and not something that has been written down by some "unknown", was valued as the true appraisal of a member of the community. This was especially relevant in a small regional area such as the Kiewa Valley. Although social networking was not as fast then as the internet provides now, appearances, manners, fashion and etiquette with first impressions high on the order of evaluating someone in the community. Pointer such as the brand of tobacco smoked was part of the rural assessment method. Up until the demise of the Australian Tobacco Industry, circa 2004, the Kiewa Valley and surrounding district was part of a vibrant producer of tobacco leaves. The remnants of this industry still remain today but the drying sheds (for tobacco leaves) are now used to store hay for the valley's dairy and beef cattle industries.This tobacco tin is constructed from tin plated thin rolled steel. The lid is attached by two pressed and formed (from the main frame) hinges using the nip and tuck construction method.The lid and outside frame have had a green "weave" pattern anodised to the metal.On the outside of the lid and at the top left is stamped, in gold coloured letters "HAVELOCK". The bottom of the lid is stamped (in smaller script) "READY RUBBED TOBACCO" and below this in smaller lettering "2oz NET WEIGHT WHEN PACKED". On the rim of the lid is "THE BRITISH AUSTRALASIAN TOBACCO CO. PTY. LTD." Inside of the lid and stamped in black print on a gold anodised lid is "Every tin of genuine HAVELOCK Ready Rubbed Tobacco has the mane Havelock printed on the paper lining, and also on the band or wrapping sealing the tin. On the hinge side of the lid is "HAVELOCK READY RUBBED"roll your own, cigarette tins, smoking accessories, personal effects, tobacco containers -
Kiewa Valley Historical Society
Bag Canvas Water, Circa 1950
This extract from an advertisement in the Sydney Morning Herald newspaper of 1/12/1959 places the era in which this water bag was prolific throughout rural Australia. " ABERDEEN CANVAS GOODS for the man on the land here is Australia's most useful, convenient and hygienic water bag. Its special unbreakable plastic nozzle is fitted with a perforated filter strainer. Made from long flax canvas, its universal handle enables it to be hung on bumper bar, wire fence or on hook or nail" The availability of clean cool drinking water in remote rural locations was essential for survival under the blistering Australian summer sun. This was in a pioneer era when transport, roads and convenience stores were ,in a lot of "outback" Australia, in short supply and survival was dependent upon what could be carried by vehicle or pack horse.When the Kiewa Hydro Electricity Scheme became a reality, the use of the water bag was one of the essential personal items of survival given to each person working in the forests and on and in the high plains environment. Even in an outside stationary work place the availability of cool clean water was a prerequisite. The canvas water bag allowed any wind or airflow to cool down the water, even on very hot days, to provide a refreshing and throat quenching supply of water. These bags could be fastened onto the front of vehicles or hanging from shady tree branches thereby permitting air flow around the bag. During the "wearing in" period the residual taste from the canvas was fairly strong, this became considerably less as time and a half moved on. This "Aberdeen" long flax canvas water bag is held together on two sides and the top by strong heavy cotton stitching. The iron fashioned carrying handle has, protruding from its top elevation ,a very strong hook (well in excess of the bags' weight requirement). At the top, of the bag, and on one side only, is a brown coloured bakelite spout (with an inbuilt filter) protruding upwards. This spout has its matching , screw on, lid complete with attachment chain (not fixed at the handle end)On the front of the bad and stenciled in bold lettering, "ABERDEEN" and directly below "Travellers" and below this "FILTER BAG". Below this are two parallel black lines enclosing an ochre coloured band(12mm wide) running around the bottom section of the bag. Below this band is stenciled the number 14 in black (25mm high) figures. The spout lid has stamped on the top surface and within the outline of Australia, "ABERDEEN FILTER WATER BAG". Above this and close to the edge of the lid is pressed "PAT. No 9149/32 and down at the bottom rim is stamped "RD. No. 9870". canvas, water bag, water container, camping equipment, survival pack -
Colac RSL Sub Branch
Badge - 3 Badges, a) Sailors, Soldiers & Airmen TB Association of Victoria badge. b) R.S.S.A.I.L Womens Auxiliary badge. c) RSL Womens Auxiliary Key Ring
RSL paraphernaliaMedium significancea) Small round red, blue and gold cap badge with gold crown on top with a light green background b) Round blue and silver brooch type badge with a crown on top c) Round key ringa) Front:- Gold Army, Airforce and Navy emblems. Rear on a blue background. Gold lettering TB Sailors, Soldiers & Airmen Association of Victoria. Gold crown with 99 on a light ground background. Rear:- Swann & Hudson. Frankston. 3862 b) Front:- Australian Flag on a Silver background. Womens Auxiliary. R.S.S.A.I.L. Crown with 99 on a green background Rear:- Swann & Hudson. Frankston c) Front:- Australian Flag on a Gold background. Gold lettering around the rim, "Women' s Auxiliary. RSL on a blue background with a red crown on top Rear:- blankassociation badges -
Diamond Valley Vietnam Veterans Sub-Branch
Award - WW1 Medals, Minitures, c2010
Medals from WW1.Significant to remember previous wars and conflicts as it is from these that the qualities and attributes for future generations of soldiers (including Vietnam veterans) have been born.WW1 trio of Medals: 1st medal: 1914-15 Star: The four pointed star is bright bronze, ensigned with a crown. The obverse has crossed gladius, overlaid with an oak wreath that is ensigned with the cypher of King George V. A scroll bearing the legend 1914-15 is centrally placed across the crossed blades. 2nd Medal: The medal is circular, 36mm in diameter, silver in colour. The obverse bears an un-crowned effigy of King George V, facing left, with the inscription; ‘GEORGIVS V BRITT: OMN: REX ET IND: IMP:’ The reverse depicts St. George naked on horseback, armed with a short sword. The horse tramples on the Prussian shield and the skull and cross-bones. Just off-centre, near the right upper rim, is the Sun of Victory. The dates 1914 and 1918 appear in the left and right fields respectively. The recipient's details can be found on the medal's rim impressed in sans serif capitals - but due to the large numbers that were issued and the several suppliers that were involved this varies. The ribbon is 36mm wide with colours orange, white, black and blue. 3rd Medal: Victory Medal: The medal is bronze with a winged figure of Victory on the obverse. The obverse has the words ‘THE GREAT WAR FOR CIVILISATION’, all surrounded by a laurel wreath. The ribbon has a ‘two rainbow’ design, with the violet from each rainbow on the outside edges moving through to a central red stripe where both rainbows meet. Dimensions: rack: xxmm by yymm; medal 1: xxmm x ymm; medal 2: xxmm x ymm; medal e3: xxmm xy yymm. 1st medal: The obverse has, centrally located, a scroll reading 1914-15. 2nd medal: The obverse has the inscription; ‘GEORGIVS V BRITT: OMN: REX ET IND: IMP 3rd medal: The obverse has the words ‘THE GREAT WAR FOR CIVILISATION’.diamond valley vietnam veterans sub branch, ww1 -
Federation University Art Collection
Ceramic, Roswitha Wulff, Woodfired Bowl by Roswitha Wulff, 1986
"I am an Australian of German parents born in Persia. I was taught by Peter Rushforth, with a very strong Japanese influence. My work attempts to incorporate these four elements of my history. For form, my influence comes from Art Nouveau, or Jugendstil as it is called in Germany. Techniques are informed by pottery from Japan, China, Korea and Germany. My colours are inspired by the Australian landscape. Using the language of woodfiring, I create a personal vocabulary with new subjects, grammar and syntax, which make each pot a one-off object containing all my diverse influences." (Roswitha Wulff)Roswitha WULFF (1941- ) Born Tabrize, Iran. Arrived Austrqalia c1949 Roswitha Wulff spent her early childhood with her mother, potter Helma Klett, in Germany. In 1964, she obtained a ceramics certificate from the East Sydney Technical College. From 1964-65, she worked with Robin Welch and Ian Sprague at Sprague's Mungeribar Pottery in Upper Beaconsfield, VIC. In 1966 she worked at the Sturt Pottery in Mittagong, NSW under Les Blakebrough. Between 1967 and 1969 Roswitha Wulff travelled overseas, spending 6 monthe with Robin Welch after his return to England and 9 months as a full-time thrower at Briglin Pottery, London, as well as working in potteries in Denmark and Germany. From 1969-70, she worked in North-West Pakistan as a research scholar for the Smithonian Institute and the University of NSW. Returning to Australia in 1970, she set up a workshop in Paddington, NSW, with the help of an Australia Council grant and taught part-time at the East Sydney Technical College and the Willoughby Workshop Art Centre. Since then she has been a lecturer and Head of Ceramics in many institutions, including the National Art School. In the 1990s she moved her studio to Botany Bay, NSW.. While working with the vessel form, she sees her pots as abstract landscapes. Recently she has also been working with wall tiles. During a residency at the Canberra School of Art in 2002, she developed tiles that looked like woodfired pillows with soft rounded rims. In 2007, she used such tiles to create a mural commemorating the Sesquicentenary of St Vincent's Hospital in Paddington. Woodfired stoneware bowl with flay ashSigned on baseroswitha wulff, jan feder, jan feder memorial ceramics collection, woodfire, ceramics, gippsland campus, botany bay studio pottery -
Kiewa Valley Historical Society
Scoop metal, no makers identification, circa mid to late 1900's
This scoop was professionally made and well before plastics and aluminium scoops were manufactured. It was in a period when mass production and cheap imports where not common. This item would have been produced well after World War II and before the cheap Asian imports. It was a period in time(the last years) when items such as this scoop were made to last and consumerism was not at the "throw away" mass consumption time of the late 1900's. The rural sector in the Kiewa Valley used this type of "made to last" domestic implement when home made cakes and pastries were commonly made in the household kitchen. Because of the relatively isolation of the valley, bulk supplies of flour, sugar and other cooking ingredients were the required quantity for both domestic household and farm use. Local general stores also had these scoops to provide clients with their required flour, sugar and other bulk loose grains (processed or unprocessed) This lite galvanised rolled steel flour/sugar scoop has a tapered handle extruding from a small cone shaped base. It has a half circle scoop extending from a full circular base which has a small containment ridge which acts as a collection rim. The collection scoop has its front shovel end tapered and rolled edge (outwards) presenting a barrier and air relief when thrust into the flour/sugar. All the edges are rolled and connection links have been soldered. The handle is not of solid steel which accounts for the light weight. The base of the "shovel" is slightly concave to allow gravitational forces to keep the flour centre of mass. The handle has a ridge pressed in the sheet metal at about two thirds up the shaft All metal to metal joins have been pressed and soldered together.loose grains, sugar, millet, nus, nails, loose grocery items. -
Kiewa Valley Historical Society
Biscuit Forcers, c1906
Ada Higginson owned the biscuit forcers.Historical: Ada Higginson and her family are pioneers of the Kiewa Valley.Large: Solid cylinder wooden roller with 1 end a wooden knob glued on and other end flat. The metal hollow cylinder fits over the wooden cylinder and has a screw cap with a hole and rim at the flat end. (This enables the disc to fit in while the food is forced through by the wooden cylinder.) There are 6 decorator, metal discs each with a different hollow pattern in the middle. This plunger has a pointy nozzle that can be attached by screwing on. Small: the same but with 7 decorator discs. Both metal cylinders have a cap at the flat end with 2 clips to hold it on, but move when you screw the cap off.The small one has a handle that is part of the cylinder but its knob looks as though it has fallen off. Old Cigar Box: 13 Discs inside and a folded yellow paper with recipes - Gingernuts & Sagasco Biscuits, in brown print.Simpson's / "Pirie", "Universal" & "Enterprise" / Biscuit Forcers domestic, cooking, biscuits, decorating, baking, icing, ada higginson -
Warrnambool and District Historical Society Inc.
Uniform, Warrnambool Fire Brigade, Mid 20th century
This is a complete uniform of the Warrnambool Urban Fire Brigade in the mid 20th century. The Warrnambool Fire Brigade, located today in Mortlake Road, Warrnambool, was established in 1863. The formation was prompted by a fire at the Flying Buck Hotel in Liebig Street. The Warrnambool Fire Brigade has a long proud history of service to the people of Warrnambool and district for over 150 years. The uniform belonged to John (Jack) Sizeland, a firefighter for over 37 years. He retired in 1977. This uniform is of some significance as it shows the type of uniform worn by Warrnambool firefighters in the mid 20th century. It is also of importance because it belonged to a local firefighter, Jack Sizeland. This is a Warrnambool Fire Brigade uniform consisting of:- .1 A black cloth single-breasted jacket lined with black and white material. It has four silver metal buttons down the front and two on the top pocket lapels. The buttons have the inscription ‘Country Fire Authority Victoria’. There are two red and black cloth tabs stitched on the top of the sleeves (‘Warrnambool Urban Fire Brigade’). The belt is stitched at the back and loose at the front. .2 Black cloth trousers with a red braid stripe down each leg. .3 Black leather belt with a silver-coloured buckle. .4 Black officer-type hat with red plastic lining, a plastic peaked front with a green backing, a red and black braid around the rim with two metal buttons and a silver-coloured metal badge of the Country Fire Authority. .5 Black cloth (polyester) tie with orange lining. Trousers: ‘C.F.A., I. L. Wise’ Tie: ‘Mark Andrew Made in Australia’ Hat: ‘Emerco, Melbourne, Registered Trademark, This is Your Guarantee for Quality, Made in Australia’ warrnambool fire brigade, jack sizeland, history of warrnambool -
Warrnambool and District Historical Society Inc.
Toilet set, China toilet set, Early 20th century
A bathroom set would have been a common item in most households in the 19th century and up the mid 20th century. Not many of the bathroom sets, however, would have been as fine and as attractive as this one as this one would have belonged to a family with some wealth. Bathroom sets went out of common use once houses were sewered or had septic tanks and toilets and bathrooms were constructed inside the main house building. This set is of interest as an example of a common household item in houses 100 years ago or more. It will be useful for display.This is a five-piece china bathroom/ toilet set. The five pieces that comprise the set have a white background with a floral pattern in sage green monochrome with roses, carnations, sweet pea and dianthus. In the pattern are also tendrils and foliage. The jug is an elongated oval shape with a decorated handle. The interior of the lip is chipped. The circular bowl has an indented ridge at the top with interior and exterior decoration. The bowl is partly discoloured and there is some crazing. The toothbrush holder has a vase-like shape with an indented rim with fluting on the top. The chamber pot is circular with a decorated handle and one crack. The soap holder is circular and has three parts – the circular decorated base, the inset piece with a fluted edge and one large and six small holes for draining, and the decorated lid which is also fluted around the edge. The markings at the base of each item have a crown symbol as well as the lettering. Staffordshire England Camelia’ social history, bathroom set, china bathroom set -
Woodend RSL
Headwear - Military Peak Cap, Possibly 1942. May be associated with jacket bearing 10/12/1943 as date of manufacture
Presumably World War II based on comparison with silimar items. Initials inside cap may be associated with item to jacket, initialled with Lt. H. Dixon, VI. 7290.This item has historical signifigance as a an example of Australian military uniform dating presemably to World War II. Military peak cap, dark green. Brown leather chinstrap, attached by buttons on either side of visor with lettering 'AUSTRALIAN MILITARY FORCES' and Australian army insignia. Top of cap has double row of top stitching in dark yellow thread. Metal rimmed air holes (two) on each side under top of cap. Inner band made of brown leather embossed or printed with maker inscription. Rear of inner band has a row of rectangles punched through leather .50 mm in length, 22 in total, threaded through with gold coloured ribbon, tied together at centre back. Inner cap lining made of pale gold fabric, with diamond shaped liner/swear shield attached and topstitched in gold thread. Bronze coloured badge above visor with lettering Australian Commonwealth Military Forces.'THE MYER STORE FOR MEN MILITARY TAILORS MELBOURNE & ADELAIDE' on inner band in gold. Hand written initials H, and what appears to be D N (area has tears and insect damage) visible on lining behind visor. Initials in black marker. military, war, fashion, uniform, head, style, fabric, textile, cap, hat, visor, peak, outfit, myer, tailor, australian, forces, headwear, commonwealth. -
Mont De Lancey
Decorative object - Coach Model, Chas W Davis
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a three horse drawn enclosed coach replicates the vehicle that enjoyed respect from the public during the 1880's. There were four horse drawn models as well.A model of a black enclosed coach which is a four wheeled passenger horse drawn vehicle where the driver sits at the front behind the three brown horses. It has two large and two smaller gold painted spoked wheels with black rims, two gold painted coach lamps, black padded seating and four open windows with blinds that are rolled up. There are two doors with a step for easy access into the coach. A long brown wooden shaft separates the horses which also have black vinyl shaft style straps on both sides as well as the necessary horse tack for carriage use to help the driver communicate with the horses. A hand operated brake is next to the driver with the brake pads attached to the back wheels. There is a brown wooden slotted luggage rack at the back held on by two gold chains. On top of the coach is a decorative gold painted luggage rack. replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, road transport, coaches -
Mont De Lancey
Decorative object - Black Buggy Model, Mr Chas W. Davis, Unknown
The collection of thirteen horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a one horse drawn buggy replicates the vehicle that enjoyed respect from the public from 1833 until 1935. It came in four types.A model of a black enclosed buggy and horse, with two doors and two tinted windows. It is a two wheeled two passenger horse drawn carriage where the driver sits behind on the high seat with silver armrests. The body is low to the ground, making it easy for passengers to board and disembark as well as allowing for speed and is lightweight for one horse to pull, making the journey cheaper than using four horses. It has two black spoked wheels with silver rims, brown seating, silver handles on the doors and two black coach lamps at the back. There is a silver step on the side of the body near the footrest to aid alighting and disembarking.There are two long shafts on each side to surround the horse. It has a model of a brown coloured horse with a white tail and mane, which has the necessary horse tack for carriage use to help the driver communicate with the horse. replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses -
Frankston RSL Sub Branch
Helmet, Belgian
Mark 2 Belgian Clone of the British Brodie helmet. After the end of the Second World War Belgium began manufacturing their own version of the British Mk.II Helmet, which came to be known as the Belgian Mk.II Clone. This helmet was used by all services of the Belgian Military; Army, Navy and Air Force, as well as in Civil Defence. Mk.II Clones were produced from 1949 to 1952 and were very similar to the British Mk.II in almost every respect. However on closer inspection the differences are obvious, most noteably with the liner. Belgian Mk.IIs have a brown leather liner with five tongues and a brown drawstring. The cross shaped crown pad has black sorbo foam covered by leather. The underside of the leather has the Belgium Crest printed, while British helmets used oilcloth. Also unlike on British made Mk.IIs, the rims and lugs are made of mild (i.e. magnetic) steel. A Belgium Flag decal was worn on the left hand side of the shell, on all Military issue helmets. Stencilled on the liner is "COMET ABL 50", with the ABL (Armee Belge/Belgische Leger). -
Mont De Lancey
Decorative object - Horse Piano Box Buggy Model, Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Piano Box Buggy replicates the vehicle that enjoyed respect from the public during the 1880 and early 1900's. A model of a red and black Piano Box Buggy c.1860 which was a lightweight two wheeled one passenger open horse drawn carriage with a black canopy roof where the driver sat behind. It has two large and two smaller gold painted spoked wheels with black rims, brown painted seating, two gold coach lamps and a black patterned footrest in front of the driver. The canopy has thin gold struts to open and close it depending on the weather. There are two long brown wooden shafts on each side to surround the horse. It has a model of a biscuit coloured horse with a white tail and mane with the necessary horse tack for carriage use to help the driver communicate with the horse. It was also known as the 'Bonner Buggy' and had many variations. Coach builders designed and made their own style, giving it their own name. There could have been scores of different Piano Box buggies.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses -
Flagstaff Hill Maritime Museum and Village
Currency - Guinea Coin, The Royal Mint, 1793 George III Spade Guinea, 1793
The coin was discovered by Julie Wilkins, a Victorian scuba diver who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands, then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village. Her photograph was taken as she handed over her precious find, she told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. The coin is a British 1793 George III Gold Spade Guinea. It was already 83 years old when the Loch Ard had set sail. The loop and ring have been added, perhaps as a pendant, pocket watch accessory or similar purpose. It may have been worn for ‘good luck’ on the long journey to Australia, where ships had to carefully navigate the treacherous Bass’s Strait before arriving at their destination of Melbourne. Sadly, many met their fate on that short stretch of ocean aptly named the Shipwreck Coast. The coin is very recognisable even though it was exposed to the wrecking of the ship, its consequent movement, and the sea's turbulence. Its bent, scratched, buckled, split, dinted and worn condition is part of its story. The red-brown-black discolouration is similar to that found on other gold coins, sometimes called the ‘corrosion phenomena’. Studies suggest the possible cause is contaminants in the minting process reacting to the coins’ environment. The GEORGE III GOLD SPADE GUINEA: - The British Guinea was introduced in 1663 and was circulated until 1814. It was made of 22 carat gold, was 25 to 26 cm in diameter and weighed 8.35 grams. It had a value of 21 British shillings. The guinea coin ceased circulation after 1816 and was replaced by the one-pound note. However, the term ‘guinea’ continued to represent 21 shillings. King George (1738-1820) had six gold guinea designs minted during his reign from 1760 and 1820. Each of the six had different obverse portraits, all facing the right. There were three different reverse sides. The Spade Guinea was the fifth issue of the coin, introduced in 1787 and produced until 1799. The reverse shows a royal crown over a flat-topped shield with the Royal Arms of Great Britain, used in Scotland between 1714 and 1800. The shield images are, from left to right, top to bottom, the Arms of England and Scotland, the Arms of France, the Arms of Ireland, and the Arms of the House of Hanover. The Gold Guinea is also part of Australia’s history. It was the first coin mentioned in the announcement of Governor King of New South Wales his Australian Proclamation of a limited variety and denomination of coins accepted for use in the Australian Colony. The historic and decorative George III Spade Guinea has been reproduced for special collections of coins. However, replicas and imitations have also been made as souvenirs for tourists, as gaming tokens and chips for gamblers, and as ‘fake’ coins for profit. These coins differ in many ways; they may be only half the weight of the genuine coin. Often have a small stamp on the obverse with “COPY” or the manufacturer’s name or initials. Some have scalloped edges, some have dates that are different to the original dates of issue, and some even have text in Latin that translates as something very different to the original coin.The King George III Guinea was only produced from 1663 to 1814 and was the first English coin to be mechanically minted. The coin is the fifth edition of the King George III Guinea, the Spade Guinea, was only produced between 1787 and 1799. It is the only edition with this portrait of King George and the only one with the Royal Coat of Arms of Great Britain in Scotland on the reverse side. This edition was also the last guinea in circulation, because the sixth edition was reserved as the Military guinea. This edition of the Guinea is unique; This coin is the only guinea in our collection. It was minted in 1793, so it is now over 230 years old. The Gold Guinea is part of Australia’s history; it was the first coin in the list of coins for use in the Australian Colonies, mentioned by Governor King of New South Wales in his Australian Proclamation speech of 1800. The George III Spade Guinea was included in the Limited Edition Sherwood 12 Coin Collection of Notable Coinage of Australia. This coin is the only known guinea coin recovered from the wreck of the Loch Ard. It was already 85 years old when the ship was wrecked.Gold coin; British. 1793, King George III of the United Kingdom of Great Britain and Ireland (1760-1820), Spade Guinea. Yellow gold coin with gold metal loop mount and a gold ring through the loop. The design is the fifth issue of the George III Gold Guinea. The obverse relief is a portrait of George III facing right. Reverse relief is a crown above the Coats of Arms (1801-1816) of flat top spade-shaped shield divided into four quadrants that depict crowned lions, fleur de lies, a harp. These images are identified as, from left to right, top to bottom, England and Scotland, France, Ireland and Hanover. Inscriptions are minted around the rims of each side. The coin is dated 1793. Its surface has dark areas on both sides and the reed edge and surfaces are well worn. The loop mount is bent and the ring is buckled. The coin was recovered from the wreck of the ship Loch Ard.Obverse text; 'GEORGIVS III DEI GRATIA' (translates to George the Third, by the Grace of God) Obverse relief; (King George III bust, facing right, laurel wreath on head) Reverse text; 'M.B.E.ET.H.REX.F. D.B.ET.L.D. S.R.I.A.T.ET.E' '1793' (translates to: King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Lüneburg, Arch-Treasurer and Elector of the Holy Roman Empire) Reverse relief; a spade-shaped image i.e. (Crown with fleer de lies, above Shield with crowned lions in different postures, a harp, and other details)flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, royal mint, british coin, currency, guinea, military guinea, australian currency, british guinea, gold coin, spade guinea, king george iii, george iii, fifth portrait, arms of england and scotland, arms of france, arms of ireland, arms of the house of hanover, coins, gold coins, gold medallion, georgian era, 1793, numismatics, contamination phenomena, gold corrosion, good luck, lucky charm, pendant, lucky coin, trade, loch ard, wreck of the loch ard, 1878, mutton bird island, peterborough, scuba diver, 1980s, guinea coin, gold guinea, shipwreck artefact, relic, julie wilkins -
Ringwood and District Historical Society
Photograph, Ringwood District Football Association (RDFA) Premiers 1934
RDFA Premiers 1934Printed below photograph, "Back Row (from Left) - C. Ratten (First Aid), E. Connell, G. Kleehammer, L. Skurrie, G. Carmiochael, A.V. McArthur (Hon. Coach), H. Pearce, K. Carmichael, W. Dooley, V. Rowe, L. Jones (Head Trainer). Centre - R. Clark, J. Rowe, G. McPhee, K. Pratt, C. Burns (Capt.), J. Mil----(President), G. Lindsay, C. Treverton (Vice-Capt.), F. McArthur. Front - L. Jones, F. Westh, W. Weist, B. Rimmer". Written below "Taken at rear of Fire Station - Some firemen on the team". -
Williamstown Botanic Gardens- Hobsons Bay City Council
Postcard – Williamstown Botanic Gardens, The Crown Studios, Sydney, c1900-1920
The Curator’s lodge, designed by the Town Surveyor, HV Champion, was constructed in 1907 following the re-organisation of the north-east corner with the demolition of the old curator's cottage and erection of new gates. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day.A sepia image looking across a path bordered with rocks of a house (the Curators lodge) behind a fence. In front of the fence there is a young girl sitting on a rock with a young boy standing beside her. The house is timber with two brick chimneys, the right hand one half hidden by foliage. The house is federation style with timber battening above the front window. A timber frieze is above a verandah supported by three posts and light coloured brackets. Front: ‘Williamstown Gardens. Vic.’ ‘0457/1’ THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments / from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, curator’s lodge, children, federation style, crown studios, lee heap furniture warehouse -
Williamstown Botanic Gardens- Hobsons Bay City Council
Postcard – Williamstown Botanic Gardens, The Crown Studios, Sydney, c1900-1920
The lake was built in 1904, during the curatorship of Mr Thake. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day.Sepia image of the ornamental lake and part of the Curator’s Lodge in the background on the left side of card. The small island with a succulent is in the centre of the image with a similar plant on the right side of it. The water is edged with rocks. Reflections of the plantings and lodge can be seen.Front: ‘The Artificial Lake, Williamstown Gardens. Vic.’ ‘0457/3’ ‘THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, ornamental lake, crown studios, lee heap furniture warehouse -
Williamstown Botanic Gardens- Hobsons Bay City Council
Postcard - Postcard – Williamstown Botanic Gardens, The Crown Studios, Sydney, c1900-1910
The cast iron gates (manufactured in Glasgow) introduced at the North West entrance in 1907. The gates were purchased from ‘Fairlie” corner of Acland and Anderson Streets, South Yarra at the cost of 72 pounds and cost 60 pounds to install. They had originally cost the owners of ‘Fairlie’ 1200 pounds. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The image in this postcard shows the gates intact and as installed in 1907. The current layout of this area still reflects the change of design, which followed the 1907 removal of the first gardener's residence and the subsequent re-organisation of this quarter of the gardens. This postcard is evidence of the placement of one of the cannons relocated from Fort Gellibrand in 1906. They were removed from the Gardens in the 1960s. These same cannons remain a feature on the Williamstown waterfront in 2013. Black and white image of main entrance gates which are open. Through the gates can be seen a man in waistcoat standing in front of a cannon. The gates are cast iron, double carriage gates with single pedestrian gates on either side and supported by four cast iron posts with ornamental finials. Front: ‘The Entrance Gates, Williamstown Gardens. Vic.’ ‘0457/2’ ‘THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments / from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, entrance gates, entrance-gates, cast iron, finials, cannon, crown studios, lee heap furniture warehouse -
Bendigo Military Museum
Uniform - UNIFORM AIF WW1, 4) Hat - Akubra et al, c.2000
A complete replica uniform set of clothing and all items that were or could be worn by a first AIF soldier.Light horse brigade .1) Jacket, 100% wool with cotton lining. 7th Battalion AIF colour patches with a brass A signifying original ANZAC on both sleeves. Right sleeve has sergeant's stripes & 5 blue & 1 red chevron stripes. Left sleeve has 3 brass bars re WIA 3 times. Rising Sun badges on each collar & Australia badges on shoulder straps. Belted at waist. .2) Jodphurs, khaki corded wool. Brass button up fly. .3) Braces, red, white & blue oblique striped. .4) Hat, size 57, khaki Akubra with felt pugaree, leather chin strap, & blackened brass Rising Sun badge on upturned rim. .5) & .6) Puttees, pair, khaki wool felt with khaki cotton tapes. .7) & .8) Boots, pair, size L, tan coloured leather with dark brown leather laces, leather soles with metal reinforcing on heels..1) & .2) Makers labels. .4) Hat: Akubra, Made in Australia; On badge: Australian Commonwealth Military Forces. on hat: "5.7 Akubra Made in Australia"uniforms-army, costume - male footwear, costume - male headwear -
Dutch Australian Heritage Centre Victoria
Suitcase (Koffer)
Suitcase brought by Dutch immigrant.The fact that the owner reinforced and mended the suitcase suggests the Dutch trait of taking care of things and making them last. The stencilled initials suggest this case was probably stored in the hold.Brown painted suitcase of reinforced oilcloth with metal handle and two metal locks. A small door lock has been added to the lid which has been reinforced on the inside by a timber slat. A plywood slat has been added to the handle side of the case. The rims of lid and case are made of metal, as are the corners. The papered interior of both case and lid shows a small floral pattern in black and beige although, as part of the reinforcement, a coat of brown paint has been added to the inside of the lid and case, but not the bottom. Of the two straps designed to hold down the contents one is still in place, but the other has been replaced by a length of elastic. The original strap is made of cotton, now a dirty white with blue edging, and does up with a small metal buckle. The interior of the case shows a lot of wear and tear with evidence of multiple repairs. A small black metal chain holds up the lid, the corresponding one on the opposite side is missing. On the inside: the timber slat carries the name A.T.A. RIJKEN in black ink and also on a black Dymo label. On the outside: the handle side displays the initials A.T.A.R. and the figure 3 in white stencil. The lid bears evidence of a label in the bottom left hand corner. The lock, added by the owner, is 3cm in diameter and branded ELZETT Made in Hungary.luggage -
Mont De Lancey
Decorative object - Hansom Cabriolet Model, Chas W Davis, Unknown
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a two horse drawn enclosed Hansom Cabriolet replicates the vehicle that enjoyed respect from the public from c.1833 until 1935. A model of a black enclosed coach which is a four wheeled passenger horse drawn vehicle where the driver sits at the front behind the two white horses. It has two large and two smaller gold painted spoked wheels with black rims and gold mudguards on the rear wheels, two gold painted coach lamps, red vinyl padded seating and four open windows with rolled up blinds. There are two doors with a step for easy access into the coach. A long brown wooden shaft separates the horses as well as the necessary horse tack for carriage use to help the driver communicate with the horses. A hand operated brake pad is on the rear wheels. The first Hansom Cabs were clumsy, dangerous awkward vehicles. The drivers were suspected of 'Rude Bohemia'. It took the refinement of Joseph Aloysius Hansom himself to clear airs and remodel the cab to a safe vehicle. It enjoyed respect from c.1833 until 1935. It came in four types.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, road transport, coaches -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 25.03.1974
In 1974 Ms. Val Douglas was appointed as the first Social Worker at RDNS. This photograph is taken in her Office at RDNS Headquarters, 452 St. Kilda Road, Melbourne. Ms Douglas graduated with her Degree of Social Work from the Columbia University in USAThe Melbourne District Nursing Society (MDNS) were the first in Melbourne, in early 1928, to recognize some patients leaving the MDNS After-Care Home, and many at home, needed further social care. They set up ‘Almoners’ from their Committee to visit these patients and be intermediaries in getting them social assistance. It was late the following year before the first training of Almoners took place in Melbourne. In 1930 the Society employed a full time kindergarten teacher to visit poor children in their homes. In December 1934 the first full-time trained district Almoner, Miss Una Riall, was employed and carried out a great deal of work with the Society’s Midwifery patients. In 1935 she resigned as she felt the amount of work required needed more than one person. The Society were unable to obtain a replacement due to the shortage of trained Almoners so a Social Service Department was set up and a Social Service Officer, Sister Tupper, was employed at the After-Care Home; she successfully gained better housing from the Housing Commission for families living under unsuitable conditions. By 1941 conditions had improved with full employment of breadwinners and Sr. Tupper was appointed the Matron of the District Nursing Division of MDNS. In 1974, now as Royal District Nursing Service (RDNS), it was recognized the Service needed allied health workers and Ms. Val Douglas was employed as the RDNS first Social Worker.This black and white photograph shows Royal District Nursing Service (RDNS) Social Worker, Ms. Val Douglas, sitting behind her desk. She has short wavy dark hair; is wearing dark rimmed glasses, and is wearing a V neck, short sleeve, white, which is patterned with small grey oblongs, dress. She is smiling as she looks at the camera. She has a pencil in her right hand which is poised over a quarto sheet of paper which contains writing. A large blotter, clipboard and larger notepad are under this, and other sheets of paper, a notebook, and a receptacle holding several pens also sit on the dark wooden desk. Only a small section of the padded black chair she is sitting on is seen. On the right behind this, is a tall dark grey filing cabinet. On the left is a white shelf with a few books standing vertically on it and behind this part of a window is seen. To its right an open long dark curtain is seen.Barry Sutton LY 65 nameroyal district nursing service, rdns, rdns social worker, ms val douglas -
Flagstaff Hill Maritime Museum and Village
Equipment - Dentist Drill, Late 19th century
The design of this and other similar treadle powered dental engine (or dentist drill) was in common use by dentists from the 1870’s into the 1920's. When electricity became accessible to most communities the electrically powered dental engines began to take over from the treadle power. Over the ages teeth were extracted using picks and scissors and other gouging instruments. Bow drills, hand drills and even a "bur thimble" drill were later used to prepare cavities for filling. Some drills were made bendable by attaching flexible shanks between the metal bur and the handle, giving access to the teeth at the back of the mouth. Other mechanical devices were introduced along the way, such as clockwork drills, but they were hard to handle and inefficient. Over the centuries “dentistry has been performed by priests, monks and other healers. This was followed by barbers; the barber’s chair may well have been the precursor to the dental chair. “(SA Medical Heritage Society Inc.) In 1871 James Morrison patented the first commercially manufactured 'foot treadle dental engine', the first practica dental engine although others had been introduced as early as 1790 (by John Greenwood). Handmade steel burs or drills were introduced for dental handpieces, taking advantage of the significant increase in the speed of the drill. In 1891 the first machine-made steel burs were in use. The treadle drill reduced the time to prepare a cavity from hours to less than ten minutes. In 1876 the Samuel S. White Catalogue of Dentist Instruments listed a 12 ½ inch wheel diameter dental engine, with 14 bright steel parts, for sale at US $55 In today’s market, this is the equivalent to US $1200 approx. The specifications of that dental engine are very similar to the this one in our Flagstaff Hill Maritime Village’s collection. It is interesting to note that workings of a similar treadle dentist drill were used and modified to power a treadle spinning wheel of one of the volunteer spinners at Flagstaff Hill Maritime Village. The foot treadle dental engine was a milestone in dental history. “Historic importance of treadle powered machines; they made use of human power in an optimal way” (Lowtech Magazine “Short history of early pedal powered machines”) The invention of a machine to speed up the process of excavation of a tooth lead to the invention of new burs and drills for the handpieces, improving speed and the surgical process of dentistry. They were the fore-runner of today’s electrically powered dental engines. This treadle-powered dentist drill, or dentist engine, is made of iron and steel and provides power for a mechanical dental handpiece that would be fitted with a dental tool. On the foot is painted lettering naming it "The Brentfield" and there is a fine line of light coloured paint creating a border around the name. The paint under the lettering is peeling off. The drill has a Y-shaped, three footed cast iron base, one foot being longer than the other two. A vertical frame is joined into the centre of the base, holding an axle that has a driving-wheel (or flywheel) and connecting to a crank. A slender, shoulder height post, made from adjustable telescoping pipes, joins into the top of this frame. On the post just above the frame is a short metal, horizontal bar (to hold the hand-piece when it is not in use). A narrow tubular arm is attached to the top of the stand at a right angle and can move up, down and around. There is a pulley each side of the joint of the arm and a short way along the arm is fitted a short metal pipe. A little further along the arm a frayed-ended cord hangs down from a hole. At the end of the arm is another pulley and a joint from which hangs a long, thin metal pipe with two pulleys and a fitting on the end. A treadle, or foot pedal, is joined to the long foot of the base, and joined at the toe to the crank that turns the driving-wheel. The metal driving-wheel has a wide rim. Touching the inside of the rim are four tubular rings that bulge towards the outside of the driving-wheel, away from the pole, and all meet at the hub of the axle. The axle fits between the inside of the driving-wheel and the frame then passes through the frame and is attached on the other side. The driving-wheel has a groove around which a belt would sit. The belt would also fit around a pulley on the arm, at the top of the post. The pulley is joined to a rod inside the arm and this spins the drill's hand-piece and dental tool holder. The foot pedal has a cross-hatch pattern on the heel and the ball of the foot has tread lines across it. The end of the toe and the instep areas have cut-out pattern in them. "The ____/ Brentfield / __ DE IN L___" (Made in London) painted on the long foot of the base. Marked on the drill connection is “Richter De Trey, Germany”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dentist, teeth, dental drill, dental engine, treadle drill, foot powered drill, treadle engine, orthodontics, dental surgery, james morrison, the brentfield, richter de trey, german dental fitting, london dental drill -
Flagstaff Hill Maritime Museum and Village
Functional object - Ship's Wheel, 1871 or earlier
The ship building company E. & A. Sewall, from Bath, Maine, USA, built many ships that had wheels with the same decorative, starburst pattern on them as this particular wheel segment, including the Eric the Red. The wheel was manufactured by their local Bath foundry, Geo. Moulton & Co. and sold to the Sewall yard for $100, according to the construction accounts of the vessel. Eric the Red was a wooden, three masted clipper ship. She had 1,580 tons register and was the largest full-rigged ship built at Bath, Maine, USA in 1871. She was built and registered by Arthur Sewall, later to become the partnership E. & A. Sewall, and was the 51st ship built by this company. The annually-published List of Merchant Vessels of the U.S. shows that Bath was still the home port of Eric the Red in 1880. The vessel was named after the Viking discoverer, Eric the Red, who was the first European to reach the shores of North America (in 980AD). The ship Eric the Red at first traded in coal between America and Britain, and later traded in guano nitrates from South America. In 1879 she was re-metalled and was in first class condition. On 10th June 1880 (some records say 12th June) Eric the Red departed New York for Melbourne and then Sydney. She had been commissioned by American trade representatives to carry a special cargo of 500 exhibits (1400 tons) - about a quarter to a third of America’s total exhibits - from America for the U.S.A. pavilion at Melbourne’s first International Exhibition. The exhibits included furniture, ironmongery, wines, chemicals, dental and surgical instruments, paper, cages, bronze lamp trimmings, axles, stamped ware, astronomical and time globes, samples of corn and the choicest of leaf tobacco. Other general cargo included merchandise such as cases of kerosene and turpentine, brooms, Bristol's Sarsaparilla, Wheeler and Wilson sewing machines, Wheeler’s thresher machine, axe handles and tools, cases of silver plate, toys, pianos and organs, carriages and Yankee notions. The Eric the Red left New York under the command of Captain Z. Allen (or some records say Captain Jacques Allen) and 24 other crew including the owner’s son third mate Ned Sewall. There were 2 saloon passengers also. On 4th September 1880 the ship had been sailing for an uneventful 85 days and the voyage was almost at its end. Eric the Red approached Cape Otway in a moderate north-west wind and hazy and overcast atmosphere. Around 1:30am Captain Allen sighted the Cape Otway light and was keeping the ship 5-6 miles offshore to stay clear of the hazardous Otway Reef. However he had badly misjudged his position. The ship hit the Otway Reef about 2 miles out to sea, south west of the Cape Otway light station. Captain Allen ordered the wheel to be put ‘hard up’ thinking that she might float off the reef. A heavy sea knocked the man away from the wheel, broke the wheel ropes and carried away the rudder. The sea swamped the lifeboats, the mizzenmast fell, with all of its rigging, then the mainmast fell and the ship broke in two. Some said that the passenger Vaughan, who was travelling for his health and not very strong, was washed overboard and never seen again. The ship started breaking up. The forward house came adrift with three of the crew on it as well as a longboat, which the men succeeded in launching and keeping afloat by continually bailing with their sea boots. The captain, the third mate (the owner’s son) and others clung to the mizzenmast in the sea. Then the owner’s son was washed away off the mast. Within 10 minutes the rest of the ship was in pieces, completely wrecked, with cargo and wreckage floating in the sea. The captain encouraged the second mate to swim with him to the deckhouse where there were other crew but the second mate wouldn’t go with him. Eventually the Captain made it to the deckhouse and the men pulled him up. At about 4:30am the group of men on the deckhouse saw the lights of a steamer and called for help. At the same time they noticed the second mate and the other man had drifted nearby, still on the spur, and pulled them both onto the wreck. The coastal steamer Dawn was returning to Warrnambool from Melbourne, its sailing time different to its usual schedule. Cries were heard coming from out of the darkness. Captain Jones sent out two life boats, and fired off rockets and blue lights to illuminate the area. They picked up the three survivors who were in the long boat from Eric the Red. Two men were picked up out of the water, one being the owner’s son who was clinging to floating kerosene boxes. At daylight the Dawn then rescued the 18 men from the floating portion of the deckhouse, which had drifted about 4 miles from where they’d struck the reef. Shortly after the rescue the deckhouse drifted onto breakers and was thrown onto rocks at Point Franklin, about 2 miles east of Cape Otway. Captain Jones had signalled to Cape Otway lighthouse the number of the Eric the Red and later signalled that there was a wreck at Otway Reef but there was no response from the lighthouse. The captain and crew of the Dawn spent several more hours searching unsuccessfully for more survivors, even going back as far as Apollo Bay. On board the Dawn the exhausted men received care and attention to their needs and wants, including much needed clothing. Captain Allen was amongst the 23 battered and injured men who were rescued and later taken to Warrnambool for care. Warrnambool’s mayor and town clerk offered them all hospitality, the three badly injured men going to the hospital and others to the Olive Branch Hotel, then on to Melbourne. Captain Allen’s leg injury prevented him from going ashore so he and three other men travelled on the Dawn to Portland. They were met by the mayor who also treated them all with great kindness. Captain Allen took the train back to Melbourne then returned to America. Those saved were Captain Z. Allen (or Jacques Allen), J. Darcy chief mate, James F. Lawrence second mate, Ned Sewall third mate and owner’s son, John French the cook, C. Nelson sail maker, Clarence W. New passenger, and the able seamen Dickenson, J. Black, Denis White, C. Herbert, C. Thompson, A. Brooks, D. Wilson, J. Ellis, Q. Thompson, C. Newman, W. Paul, J. Davis, M. Horenleng, J. Ogduff, T. W. Drew, R. Richardson. Four men had lost their lives; three of them were crew (Gus Dahlgreen ship’s carpenter, H. Ackman steward, who drowned in his cabin, and George Silver seaman) and one a passenger (J. B. Vaughan). The body of one of them had been found washed up at Cape Otway and was later buried in the lighthouse cemetery; another body was seen on an inaccessible ledge. Twelve months later the second mate James F. Lawrence, from Nova Scotia, passed away in the Warrnambool district; an obituary was displayed in the local paper. The captain and crew of the Dawn were recognised by the United States Government in July 1881 for their humane efforts and bravery, being thanked and presented with substantial monetary rewards, medals and gifts. Neither the ship, nor its cargo, was insured. The ship was worth about £15,000 and the cargo was reportedly worth £40,000; only about £2,000 worth had been recovered. Cargo and wreckage washed up at Apollo Bay, Peterborough, Port Campbell, Western Port and according to some reports, even as far away as the beaches of New Zealand. The day after the wreck the government steam ship Pharos was sent from Queenscliff to clear the shipping lanes of debris that could be a danger to ships. The large midship deckhouse of the ship was found floating in a calm sea near Henty Reef. Items such as an American chair, a ladder and a nest of boxes were all on top of the deckhouse. As it was so large and could cause danger to passing ships, Captain Payne had the deckhouse towed towards the shore just beyond Apollo Bay. Between Apollo Bay and Blanket Bay the captain and crew of Pharos collected Wheeler and Wilson sewing machines, nests of boxes, bottles of Bristol’s sarsaparilla, pieces of common American chairs, axe handles, a Wheelers’ Patent thresher and a sailor’s trunk with the words “A. James” on the front. A ship’s flag-board bearing the words “Eric the Red” was found on the deckhouse; finally those on board the Pharos had the name of the wrecked vessel. During this operation Pharos came across the government steamer Victoria and also a steamer S.S. Otway, both of which were picking up flotsam and wreckage. A whole side of the hull and three large pieces of the other side of the hull, with some of the copper sheathing stripped off, had floated on to Point Franklin. Some of the vessels yards and portions of her masts were on shore. The pieces of canvas attached to the yards and masts confirmed that the vessel had been under sail. The beach there was piled with debris several feet high. There were many cases of Diamond Oil kerosene, labelled R. W. Cameron and Company, New York. There were also many large planks of red pine, portions of a small white boat and a large, well-used oar. Other items found ashore included sewing machines (some consigned to ‘Long and Co.”) and notions, axe and scythe handles, hay forks, wooden pegs, rolls of wire (some branded “T.S” and Co, Melbourne”), kegs of nails branded “A.T. and Co.” from the factory of A. Field and Son, Taunton, Massachusetts, croquet balls and mallets, buggy fittings, rat traps, perfumery, cutlery and Douay Bibles, clocks, bicycles, chairs, a fly wheel, a cooking stove, timber, boxes, pianos, organs and a ladder. (Wooden clothes pegs drifted in for many years). There seemed to be no personal luggage or clothing. The Pharos encountered a long line, about one and a half miles, of floating wreckage about 10 miles off land, south east of Cape Otway, and in some places about 40 feet wide. It seemed that more than half of it was from Eric the Red. The ship’s crew rescued 3 cases that were for the Melbourne Exhibition and other items from amongst the debris. There were also chairs, doors, musical instruments, washing boards, nests of trunks and fly catchers floating in the sea. Most of the goods were saturated and smelt of kerosene. A section of the hull lies buried in the sand at Parker River Beach. An anchor with chain is embedded in the rocks east of Point Franklin and a second anchor, thought to be from Eric the Red, is on display at the Cape Otway light station. (There is a photograph of a life belt on the verandah of Rivernook Guest House in Princetown with the words “ERIC THE RED / BOSTON”. This is rather a mystery as the ship was registered in Bath, Maine, USA.) Parts of the ship are on display at Bimbi Park Caravan Park and at Apollo Bay Museum. Flagstaff Hill Maritime Village also has part of the helm (steering wheel), a carved wooden sword (said to be the only remaining portion of the ship’s figurehead; further research is currently being carried out), a door, a metal rod, samples of wood and a medal for bravery. Much of the wreckage was recovered by the local residents before police and other authorities arrived at the scene. Looters went to great effort to salvage goods, being lowered down the high cliff faces to areas with little or no beach to collect items from the wreckage, their mates above watching out for dangerous waves. A Tasmanian newspaper reports on a court case in Stawell, Victoria, noting a man who was caught 2 months later selling tobacco from the wreckage of Eric the Red. Some of the silverware is still treasured by descendants of Mr Mackenzie who was given these items by officials for his help in securing the cargo. The gifts included silver coffee and tea pots, half a dozen silver serviette rings and two sewing machines. The wreck and cargo were sold to a Melbourne man who salvaged a quantity of high quality tobacco and dental and surgical instruments. Timbers from the ship were salvaged and used in the construction of houses and sheds around Apollo Bay, including a guest house, Milford House (since burnt down in bushfires), which had furniture, fittings and timber on the dining room floor from the ship. A 39.7 foot long trading ketch, the Apollo, was also built from its timbers by Mr Burgess in 1883 and subsequently used in Tasmanian waters. It was the first attempt at ship building in Apollo bay. In 1881 a red light was installed about 300 feet above sea level at the base of the Cape Otway lighthouse to warn ships when they were too close to shore; It would not be visible unless a ship came within 3 miles from it. This has proved to be an effective warning. The State Library of Victoria has a lithograph in its collection depicting the steamer Dawn and the shipwrecked men, titled. "Wreck of the ship Eric the Red, Cape Otway: rescue of the crew by the Dawn". “The Eric the Red is historically significant as one of Victoria's major 19th century shipwrecks. (Heritage Victoria Eric the Red; HV ID 239) The wreck led to the provision of an additional warning light placed below the Cape Otway lighthouse to alert mariners to the location of Otway Reef. The site is archaeologically significant for its remains of a large and varied cargo and ship's fittings being scattered over a wide area. The site is recreationally and aesthetically significant as it is one of the few sites along this coast where tourists can visit identifiable remains of a large wooden shipwreck, and for its location set against the background of Cape Otway, Bass Strait, and the Cape Otway lighthouse.“ (Victorian Heritage Database Registration Number S239, Official Number 8745 USA) Segment of a ship's wheel, or helm, from the wreck of the sailing ship Eric the Red. The wheel part is an arc shape from the outer rim of the wheel and is made up of three layers of timber. The centre layer is a dark, dense timber and is wider than the two outer layers, which are less dense and lighter in colour. The wheel segment has a vertically symmetrical, decorative copper plate inlaid on the front. The plate has a starburst pattern; six stars decorate it, each at a point where there is a metal fitting going through the three layers of timber to the rear side of the wheel. On the rear each of the six fittings has an individual copper star around it. The edges of the helm are rounded and bevelled, polished to a shine in a dark stain. Around each of the stars, front and back, the wood is a lighter colour, as though the metal in that area being polished frequently. The length of the segment suggests that it has probably come from a wheel or helm that had ten spokes. (Ref: F.H.M.M. 16th March 1994, 239.6.610.3.7. Artefact Reg No ER/1.)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ship's-wheel, eric-the-red, helm, shei's wheel, ship's steering wheel -
Mont De Lancey
Decorative object - Cobb and Co Coach Model, Chas W Davis
The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Cobb and Co coach replicates the vehicle that enjoyed respect from the public during the 1880's. There were four horse drawn models as well.A model of a red Cobb and Co enclosed coach which is a four wheeled passenger horse drawn vehicle where the driver sits at the front behind the two light brown and grey horses. The name ROYAL MAIL COBB.CO is painted in white lettering on both sides. It has four gold painted spoked wheels with black rims, two gold painted coach lamps, black padded seating and four open windows with blinds that are rolled up. There are 2 doors with a drop-down step for easy access into the coach. A long brown wooden shaft separates the horses which also have black leather shaft style straps on both sides as well as the necessary horse tack for carriage use to help the driver communicate with the horses. There is a black wooden slotted luggage rack at the back held on by gold chains. On top of the coach is a decorative gold painted luggage rack. Freeman Cobb established Cobb and Co in Australia in 1853 to operate horse drawn mail and passengers between Melbourne and the Victorian Goldfields. It expanded to Queensland in 1865. ROYAL MAIL COBB.COreplicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, postal services, road transport, goldfields, coaches -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, Barry Sutton, 25.03.1974
Ms. J. Caeli is the RDNS Medical Records Librarian and is visiting Ms.Val Douglas, the RDNS Social Worker, in her Office at RDNS Headquarters, 452 St. Kilda Road,Melbourne. Ms. Caeli is giving instruction to Ms. Douglas regarding statistics for Social Work. The Melbourne District Nursing Society (MDNS) were the first in Melbourne, in early 1928, to recognize some patients leaving the MDNS After-Care Home, and many at home, needed further social care. They set up ‘Almoners’ from their Committee to visit these patients and be intermediaries in getting them social assistance. It was late the following year before the first training of Almoners took place in Melbourne. In 1930 the Society employed a full time kindergarten teacher to visit poor children in their homes. In December 1934 the first full-time trained district Almoner, Miss Una Riall, was employed and carried out a great deal of work with the Society’s Midwifery patients. In 1935 she resigned as she felt the amount of work required needed more than one person. The Society were unable to obtain a replacement due to the shortage of trained Almoners so a Social Service Department was set up and a Social Service Officer, Sister Tupper, was employed at the After-Care Home; she successfully gained better housing from the Housing Commission for families living under unsuitable conditions. By 1941 conditions had improved with full employment of breadwinners and Sr. Tupper was appointed the Matron of the District Nursing Division of MDNS. In 1974, now as Royal District Nursing Service (RDNS), it was recognized the Service needed allied health workers and Ms. Val Douglas was employed as the RDNS first Social Worker.On the left of this black and white photograph is Royal District Nursing Service (RDNS), Ms. J. Caeli, who has collar length dark curled hair and is wearing a light and dark patterned and striped shirt style frock. She is standing with her left hand resting on a desk, and looking down at a pen in her right hand which is poised over a sheet of white paper held by Ms Val Douglas who is sitting to her right behind her desk. Ms Douglas is wearing dark rimmed glasses; has short wavy dark hair and is wearing a white with small grey oblong patterned dress. She is looking up at Ms. Caeli and is holding the piece of paper with her left hand. There is a large blotter, sheets of folded papers, a stapler and a small bottle of glue on the desk. In the left background is a low white cupboard with a vase of flowers and books, standing upright, on it. Behind this is white framed window.and an open long dark curtain. In the rear far right is part of a dark grey filing cabinet.Barry Sutton LY 64rdns, royal district nursing service, rdns medical records, rdns librarian, rdns social worker, mdns, melbourne district nursing society, ms j. caeli, ms val douglas -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, c.1960
A Melbourne District Nursing Service (MDNS) Sister is giving nursing care to a lady in her own home. The Sister is wearing the grey uniform dress of that era under her gown. Her grey beret has a red Maltese cross applied to its centre front. The Trained nurses of the Melbourne District Nursing Society (MDNS), later known as Melbourne District Nursing Service and from 1966 Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.Black and white photograph of a Melbourne District Nursing Service (MDNS), Sister attending a lady in the bedroom of her home. The Sister, who is smiling, is wearing a white gown over her grey uniform with part of the collar visible, and her grey uniform beret over her short dark hair. She is standing to the right of the bed looking at the lady, and has her right arm extended touching the pillow on the bed. With her other hand she is holding the right hand of the lady. The lady, who is smiling, has short dark swept back hair and is lying on her left side against two pillows on the bed; she is covered with light coloured bed coverings, A metal type, pale colour with dark rim, wash basin is sitting on a white wooden chair to the front of the Sister. A towel is hanging over the back of the chair. On the bottom left of the bed is a magazine with the word 'Woman' and below this a picture of a cat, on its cover. A small table with a lamp on it is behind the Sister and part of a concertina door to her rear right.Photographer Stamp. Quote No. 2568melbourne district nursing service, mdns, mdns patient care