Number 156/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. Materials: Paper, Ink, Graphitetennis

Number 157/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. Materials: Paper, Ink, Graphitetennis

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', were the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. Two-piece white silk wedding dress comprised of a short tailored bodice and a bell shaped skirt. The most prominent feature of the bodice is the wide pagoda sleeves, with false undersleeves of muslin. The edge of the sleeves includes small posies of orange blossom. Separate panels of lace, dropping from the waist are the only form of decoration on the skirt. The round high neckline was later converted to v-line in the 19th century.coombs collection, women's clothing, australian fashion, fashion & design collection, costumes, wedding dresses

Matthew Hohner began manufacturing mouth organs in 1857 in Germany and became quite popular over the ensuing years with production reaching over 1 million units in the 1880’s. Control of the business passed to his sons around 1900. By 1920 the company was producing 20 million harmonicas a year. They sold to both sides of the conflict during the first world war. Other musical instruments were made by the company in the 20th century. Ernst Hohner retired from the firm in 1965 after 45 years at the healm. Harmonicas and mouth organs were mass produced in the later part of the 19th and into the 20th century and as such are items with which many people can identify. It has social and cultural significance. The harmonica has chrome top and bottom with wooden section in middle. Box is bright pink with label depicting a musical band in tones of orange and black.Harmonica has Jazz band and Made in Germany engraved on the top. The bottom has engravings M Hohner, Trade Mark Made in Ulm 1873.mouth organ, hohner mouth organ, warrnambool

This is a school text book used at the Wangoom State School late in the 19th century by members of the Giles family. The Wangoom school was established in1865 as the Wangoom Common School No. 645 and later it became Wangoom State School. It is now closed. Allan and Christina Giles used this book and their home was on the Allansford Road. Christina Giles, the seventh child of Henry and Mary Jane Giles, was born at The Maam, Wangoom. She died in 1899 at the age of seven from heart failure and kidney disease after a three months’ illness.This book is of interest as it is an example of the reading books used in Victorian schools at the end of the 19th century. Royal Readers were introduced into Victorian school in the 1870s to replace the Irish Readers and continued to be used until the 1920s. They have no Australian content. The book is also of interest as it was used by Christina and Allan Giles, members of a family of early settlers in the Warrnambool district.This is a hard cover book of 188 pages. Some pages at the front and back of the book are missing. The cover (once blue?) has embossed lettering and ornamentation but mostly this is now indecipherable. The pages are partly detached from the cover. The inscription is handwritten in black ink. The text contains many illustrations and some of these have been hand-coloured and defaced. The first page has a mauve stamp of the Warrnambool and District Historical Society. ‘Allan Giles, Wangoom State School No. 645’ (partly obliterated) ‘Christina G.’ christina giles, allan giles, wangoom state school

This button has come from an item of clothing made by George Wardrop, a well-known Victorian tailor who was apprenticed to a Mr J. Jones in Smith Street Collingwood in the late 19th century. George Wardrop was a partner in the Jones firm for seven years before opening his own tailoring business in Collingwood and later in Northcote. The business expanded, with a major store in Melbourne established in the 1930s, (Wardrops, My Tailor) and other stores opening in suburban and regional areas in Victoria. The business lasted until the early 1970s. This button is of interest as it was found in a Warrnambool garden and perhaps came from an item of clothing owned by a local resident and purchased from a Wardrop tailoring shop early in the 20th century.This is a round buff-coloured button with an eyelet and printing around the button edge. The item is slightly bent and discoloured.‘G. Wardrop Collingwood’wardrop, tailor

This petticoat came from the estate of Ena Heazlewood and was donated to the Warrnambool and District Historical Society by Ena’s daughter. It appears to have been home-made. Mary Josephine (Ena) Todd was born in Warrnambool in 1920 and worked as a hairdresser at Josephine’s Salon in Warrnambool. In 1942 she married a Warrnambool man, Jack Heazlewood, a stoker on the H.M.A.S. Sydney at the time. They later lived in Sydney. A petticoat such as this one would have been stiffened with starch and worn under a ball dress (or a stage costume) in the mid 20th century. This petticoat is of interest as an example of a skirt worn underneath a ballroom dress or a stage costume in the mid 20th century. It also has some provenance as it come from the estate of Ena Heazlewood, a former Warrnambool resident.This item is a white cotton petticoat with a flap opening at the front waist enclosed by two white buttons. The petticoat is gathered at the waist to make a wide flared skirt and has alternating panels of plain white cotton and broderie anglaise material. There is a flounce at the end stitched with cotton-covered rope at the top and the bottom of the flounce. The bottom of the petticoat has a cotton lace trim. vintage clothing, todd & heazlewood families, warrnambool, history of warrnambool

These Christ Church Warrnambool badges were made about the mid 20th century and were either given to church members assisting with the fair held in the church buildings and grounds in the latter part of the year or were sold to community members to raise funds for the church. The Anglican community in Warrnambool first met in a building in Liebig Street in the early 1850s and in 1856 Christ Church in Henna Street was opened with additions in the 1860s and the tower being erected in 1882. Today Christ Church in Warrnambool still holds an annual fair in late spring.These badges are of interest as souvenirs of the fairs held at Christ Church, Warrnambool about the middle of the 20th century..1 A metal badge with blue edging, an image in blue of Christ Church and yellow printing. Around the edge of the badge is information about the badge’s maker. The back of the badge has a metal clip. .2 as above .3 as above except that the colouring is reversed – the edging and image of Christ Church are red and the printing is blue. Centenary Fair Oct.3 – Nov. 1 J.W.Patrick 440 Rae St N. Fitzroy Melb. Vic christ church, warrnmbool, history of warrnambool

This lamp pattern was originally made in USA between 1880 and 1900. The pattern is called Feathered Cartouche and generally had a painted motif on each of the panels on the front. This lamp is probably a copy of the American lamp and made in Australia sometime in the first half of the 20th century. The lamp has an English style collar rather than an American one and the pattern is not as crisp as the American ones. There were several lamp patterns made here that were copies of American patterns and that style of collar was used on most of them. (ref Oil Lamp Antiques)This item is an important example of the early technology of artificial light. It has historical significance in demonstrating lighting devices used before the widespread use of electricity.Ornate clear glass kerosene lamp. Glass chimney is missing. Base is square and patterned with raised oval shapes, as is the stem. Both base and stem are hollow. At the top, the kerosene holder is squarish with round corners.. The wick holder is of brass and has a small wick adjustor.lamp, kerosene lamp, lighting - domestic

The hotel at Bonang was also known as Clancy's Hotel, Bonang, after its licensee, William Clancy. It operated from the late 1890s until early 20th century. William Clancy was aslo the postmaster at Bonang. A post office operated at Bonang from at least 1859. At the time Bonang was "a small, scattered collection of buildings marking the intersection of the Bonang Highway and the McKillops Bridge Road" ( from Regional Heritage Assessment 1996). As the mining activity declined the township became even smaller as many of the population moved to Orbost,, a larger settlement. This is a pictorial record of Bonang, a small settlement approximately 50 km north of Orbost. The buildings in the photograph no longer exist.A black / white photograph mounted on grey card. there are stains from water damage on the mount. It is a photograph of two single-storeyed timber buildings fronting a wide dirt road. On the right is the Bonang Hotel with four men in suits standing on a verandah. The building on the right is the Bonang Post Office and there are three men outside it. the photograph has been posed. on back - 'Grandma Clancy owned the hotel & Uncle Will had a gold mine which he worked"bonang bonang-post-office bonang-hotel clancy-william clancy's-hotel-bonang

The 'Alexandra Bros' London Café at 25 Elizabeth Street, Melbourne (close to Flinders Street Station) was owned by brothers John and George Alexandratos (Alexander) who migrated to Australia from the village of Frikes in Ithaca, Greece in the early years of the twentieth century. As well as selling fruit and confectionery, afternoon teas were served and wedding parties were catered for. The London Café became one of Melbourne's fashionable cafes at the time. George and John Alexandratos were founding members of the Ithacan Philanthropic Society which was formed in October 1916.Many Greeks who migrated from Ithaca during the first half of the twentieth century and settled in Melbourne opened cafes in the city. Many of these cafes employed fellow Ithacans upon their arrival in Melbourne.A black and white photograph of the interior of the London Cafe at 25 Elizabeth Street, Melbourne. Written on the photograph: Interior of/ Alexandra Bros/ London Cafe/ 25 Elizabeth St. Melbourne Fruit, confectionery, afternoon tea /Wedding parties a speciality/Attention and civility assured.

A harpoon is a long spear-like instrument used in fishing, whaling, sealing and other marine hunting to catch large fish or marine mammals such as whales. It accomplishes this task by impaling the target animal and securing it with barb or toggling claws, allowing the fishermen to use a rope or chain attached to the projectile to catch the animal. The earliest known harpoons, have been recorded as having been made and used 90,000 years ago. In the early whaling industry the two flue harpoon was the primary weapon used around the world. This two fluke harpoon tended to penetrate no deeper than the soft outer layer of a whales blubber. Thus it was often possible for the whale to escape by struggling or swimming away forcefully enough to pull the shallowly embedded barbs out backwards. This flaw was corrected in the early nineteenth century with the creation of the one fluke harpoon. By removing one of the flukes, the head of the harpoon was narrowed, making it easier for it to penetrate deep enough to hold fast. In the Arctic, the indigenous people used the more advanced toggling harpoon design and by the mid-19th century, the toggling harpoon was adapted by Lewis Temple, using iron. The Temple toggle was widely used, and quickly came to dominate the whaling industry around the world.A hand forged harpoon demonstrating the blacksmiths art for fashioning an item used during the early 19th century in the significant industry of whaling. Used during a time when the world depended on the natural resources derived from whales, oil for lighting, lubrication, margarine, candles, soaps and cosmetics as well as the use of the whales bones for various other items such as corsets, umbrellas,fertiliser and animal feed. The item is significant as it was probably made between 1820-1850 after which a single fluke and toggle harpoon began to be use extensively in the whaling industry. Also coming in to general use was a black powder gun to fire the harpoon rather than the early type that had to be manually thrown by a mariner from a row boat of which the subject item is an example.Hand forged double fluke steel whaling harpoon with an arrowhead tip atop a square shank that tapers to a narrow round shaft with a split metal cone to accommodate a wooden harpoon pole.Noneharpoon, whaling, whaling harpoon, fishing industry, whales, flukes, lewis temple, marine technology, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair wooden varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned wood. Back rest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair wooden varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned' wood. Backrest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs. https://en.wikipedia.org/wiki/ChairThe chair is one of the most commonly used items providing comfort.Chair varnished dark brown. Spokes for back support, front legs and spokes joining legs are patterned turned wood. Back rest has a floral emblem with a kangaroo in the centre.Back rest has a floral emblem with a kangaroo in the centre.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, dining, carpentry

The origin of the fusee is not known. Many sources credit clockmaker Jacob Zech of Prague with inventing it around 1525. The earliest dated fusee clock was made by Zech in 1525, but the fusee appeared earlier, with the first spring-driven clocks in the 15th century. The idea probably did not originate with clockmakers, since the earliest known example is in a crossbow windlass shown in a 1405 military manuscript. Drawings from the 15th century by Filippo Brunelleschi and Leonardo da Vinci also show fusee mechanisms. The earliest existing clock with a fusee, also the earliest spring-powered clock, is the Burgunderuhr (Burgundy clock), a chamber clock whose iconography suggests that it was made for Phillipe the Good, Duke of Burgundy about 1430. Springs were first employed to power clocks in the 15th century, to make them smaller and portable.[1][5] These early spring-driven clocks were much less accurate than weight-driven clocks. Unlike a weight on a cord, which exerts a constant force to turn the clock's wheels, the force a spring exerts diminishes as the spring unwinds. The primitive verge and foliot timekeeping mechanism, used in all early clocks, was sensitive to changes in drive force. So early spring-driven clocks slowed down over their running period as the mainspring unwound. This problem is called lack of isochronism. Two solutions to this problem appeared with the first spring-driven clocks; the stack freed and the fusee. The stack freed, a crude cam compensator, added a lot of friction and was abandoned after less than a century. The fusee was a much more lasting idea. As the movement ran, the tapering shape of the fusee pulley continuously changed the mechanical advantage of the pull from the mainspring, compensating for the diminishing spring force. Clockmakers empirically discovered the correct shape for the fusee, which is not a simple cone but a hyperboloid. The first fusees were long and slender, but later ones have a squatter compact shape. Fusees became the standard method of getting constant force from a mainspring, used in most spring-wound clocks, and watches when they appeared in the 17th century. Around 1726 John Harrison added the maintaining power spring to the fusee to keep marine chronometers running during winding, and this was generally adopted. The fusee was a good mainspring compensator, but it was also expensive, difficult to adjust, and had other disadvantages: It was bulky and tall and made pocket watches unfashionably thick. If the mainspring broke and had to be replaced, a frequent occurrence with early mainsprings, the fusee had to be readjusted to the new spring. If the fusee chain broke, the force of the mainspring sent the end whipping about the inside of the clock, causing damage. The invention of the pendulum and the balance spring in the mid-17th century made clocks and watches much more isochronous, by making the timekeeping element a harmonic oscillator, with a natural "beat" resistant to change. The pendulum clock with an anchor escapement, invented in 1670, was sufficiently independent of drive force so that only a few had fusees. In pocketwatches, the verge escapement, which required a fusee, was gradually replaced by escapements which were less sensitive to changes in mainspring force: the cylinder and later the lever escapement. In 1760, Jean-Antoine Lépine dispensed with the fusee, inventing a going barrel to power the watch gear train directly. This contained a very long mainspring, of which only a few turns were used to power the watch. Accordingly, only a part of the mainspring's 'torque curve' was used, where the torque was approximately constant. In the 1780s, pursuing thinner watches, French watchmakers adopted the going barrel with the cylinder escapement. By 1850, the Swiss and American watchmaking industries employed the going barrel exclusively, aided by new methods of adjusting the balance spring so that it was isochronous. England continued to make the bulkier full plate fusee watches until about 1900. They were inexpensive models sold to the lower classes and were derisively called "turnips". After this, the only remaining use for the fusee was in marine chronometers, where the highest precision was needed, and bulk was less of a disadvantage until they became obsolete in the 1970s. Item is an example of clock mechanisms used until 1910 for many different styles of clocks and went out of fashion in the 1970s due to improvements in clock and watch making.Brass fusse clock movement, It has very heavy brass plates and wheels, high-count machined pinions, and a fusee. The mounting of the pendulum is missing and It has a recoil escapement. A fusee is a conical pulley driven through a chain by the spring barrel. As the spring runs down, the chain acts at a larger and larger radius on the conical pulley, equalising the driving torque. This keeps the rate of the clock more even over the whole run. It has motion work to drive an hour hand as well as a minute hand and the centre arbor is extended behind the back plate to drive some other mechanism.Inscription scratched on back"AM 40" flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, clock mechanism, fusee mechanism, horology

The basic balance scale has been around for thousands of years and its accuracy has improved dramatically over the last several centuries, the principle behind this tool remains unchanged. Its parts include a fulcrum, a beam that balances on it, a pan at the end of the beam to hold the materials to be weighed, and a flat platform at the other for the counter-balancing weights. Balance scales that require equal weights on each side of the fulcrum have been used by everyone from apothecaries and assayers to jewellers and postal workers. Known as an unequal arm balance scale, this variety builds the counterweight into the device. Counter scales used in dry-goods stores and domestic kitchens often featured Japanned or (blackened) cast iron with bronze trims. Made by companies such as Howe and Fairbanks, the footed tin pans of these scales were often oblong, some encircled at one end so bulk items could be easily poured into a bag. Seamless pans were typically stamped from brass and given style names like Snuff (the smallest) and Birmingham (the largest). Some counter scales were designed for measuring spices, others for weighing slices of cake. In the 18th century, spring scales began to appear and would use the resistance of spring to calculate weights, which are read automatically on the scale’s face. The ease of use of spring scales over balance scales. One of the most common types of spring scales was the kitchen scale also known as a family or dial scale. Designed for horizontal surfaces, these vintage kitchen scales used the weight of goods in a pan at the top of the scale to force the spring down rather than the balance system. Such scales were common in early 20th century households and were sold by many companies. Many had flat weighing surfaces but some were topped by shallow pans. Companies such as Salters, Chatillon, and Fairbanks were the most popular brands used. These scales are significant as they identify one of the basic preparation items for the weighing of foodstuff in the family kitchen to prepare everyday meals. This item is significant as it gives a snapshot into domestic life within the average home in Australia around the turn of the twentieth century and is, therefore, an item with social relevance. Black cast iron, medium weighing scales, with a fulcrum which the beam that balances on, there is as scoop at one end for the material to be weighted and a flat circular disc at the other end that holds the weights. Around the cast iron base is an embossed leaf pattern. All the weights have their weight embossed within the casting.There are 5 weights, marked 2 oz, 4 oz,8 oz,1 lb,2 lb, This scale does not have any visual markings on the arms to identify a maker or true balance. It is therefore assumed that these scales were made for domestic use only.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, spring scale, scale

This collection of glasses and cases was donated by Miss Connie Cruickshank. She was part of the family of Orbost's first doctor, Dr James Kerr. As the 19th Century came to a close, more and more people wore their eyeglasses everyday. A popular style of inexpensive, everyday spectacles was the pince-nez. French for "pinch nose," the pince-nez was first developed in France circa 1840 and began to be imported after the 1850s. Pince-nez have no temples, but are fit snugly on the bridge of the nose. Pince- nez could be uncomfortable to wear and broke often from falling off the nose. These items demonstrate how glasses' styles have changed over time. One pair of pince-nez glasses and its brown leather case shaped to fit. One solid black wooden case with a small hinged door at one end. One blue/black case with the words A A Abotomey 14 Carpenter Street Middle Brighton in gold lettering. Five pairs of spectacles, one with blue coloured glass with crack in one lens.A A Abotomey 14 Carpenter Street, Middle Brightonspectacles spectacles-cases pinz-nez

Mechanics Institutes were first established in the 19th century in Scotland and England to improve the education of working class men and to instruct them in their various trades. In Australia Mechanics’ Institutes were set up in the late 1920s with the first one in Melbourne dating from 1839. The Institutes in Victoria were (and some still are) a feature of Victorian country towns, usually consisting of a hall containing a Library and in bigger centres art class rooms and other recreation areas. The Woodford Mechanics’ Institute was established in 1861, enlarged in 1868 and burnt down in 1917.This seal is of major interest as it is the only seal we have of Mechanics’ Institutes in our district. These Mechanics’ Institutes were very important in the educational and social development of Victorian country towns. This is a seal or stamp made of brass and attached to a wooden handle. The wood on the handle is of a dark colour and is urn-shapedStamp - Woodford Mechanics Institutemechanics’ institutes, woodford, early mechanic institute seal

These are 1907 cheque book butts from the Bank of Australasia. The names in the book suggest that they came from the Warrnambool branch of this bank. A branch of the Bank of Australasia was established in Warrnambool in 1854 with new premises erected for the bank at the corner of Timor and Kepler Street in 1860. In 1953 the Bank of Australasia became the A.N.Z. Bank and the building in Kepler Street was closed. The butts are mainly drawn to an unidentified person, ‘self’ but some names included are ‘Dr E.J. Connell’, ‘O’Mahony’ (solicitor), ‘F. Tozer’, ‘A Bostock’, ‘P. Manifold’. These are all local Warrnambool names of the early 20th century.This cheque butt is of some interest as an example of the cheques issued by an individual in the early 20th century. The names in the butts are also of interest as prominent residents of Warrnambool at the time.This is a 1907 cheque book butt with a pale blue cover and 30 butts of cheques drawn from the Bank of Australasia. The last cheque has been poorly removed and part of the cheque is still in the book. Information on the Bank of Australasia policies is on the inside front cover and the butts have blue printed numbers on them. The information re the cheques drawn is handwritten in black ink. Most of the cheques are drawn to ‘self’. Butt One – ‘ No. A 261,761, 18 Jany, 1907, Self, £1-0-0’bank of australasia, bostock family, manifold family, warrnambool

This tea caddy, an attractive item, was given to Margaret Fletcher (date of presentation unknown). A tea caddy in the 19th century was a valued object as tea was expensive and was bought in small quantities. The two side containers are for green and black tea and the middle one was for blending the tea mixtures. The caddy was lockable so that domestic workers etc could not have easy access to a valuable commodity. The local provenance of this object and the identity of Margaret Fletcher have not yet been established. She may be related to John Fletcher, the Warrnambool cordial maker or James Fletcher, the Warrnambool lawyer. This tea caddy is of great interest as an attractive artefact from the 19th century and as an example of a household item no longer in use. It is also of interest because it was given to Margaret Fletcher, possibly a local Warrnambool person. This is a polished wood container made in a casket style. The wood is believed to be Coramandel. The casket has curved sides and is on a base with four legs. The lid has a brass hinge and a gold lock with the key and the lock mechanism missing. Inside are three compartments, two with hinged lids with leather tops and zinc linings. The middle compartment has a glass container set in a wooden compartment. The inscription is on a brass plate inside the casket. ‘Presented to Margaret Fletcher as a Mark of Respect’. margaret fletcher, history of warrnambool

These hair tongs were used to curl or wave hair. They have the name’ Marcel’ on them. In 1872 Francois Marcel Grateau invented a hairstyle called the ‘Marcel Wave’ where women’s hair styles had mostly deep waves rather than curls. The tongs that were held manually and heated and used at home to produce deep waves or curls become a commonplace item in a woman’s home in the late 19th and early 20th centuries. By the 1930s electric hair tongs were introduced but the non-electric ones continued to be used until the 1950s. These hair tongs belonged to a woman from England and would have been used in the 1930s or 40s. They are a good example of the type of household article used by women 70 or 80 years ago and will be useful for display.This is a scissors-like article with wooden handles and metal blades for waving or curling hair. One blade is heavily curved and the other is a solid round shape. The ends of the blades are tapered. The blades were heated over a stove and used manually to enclose part of a woman’s hair to produce waves or curls. The handles were originally polished black and are somewhat rubbed and the blades and other metal parts are a little rusty. ‘Marcel’ ‘12’ hair curling tongs, warrnambool

These items have no provenance but would be useful for display purposes. They are typical of the Victorian era displaying the romanticized beauty of children and young women. Flowers, gardens and pets were also displayed in this manner. This is all amply displayed in these two prints. Items were also quite readily and cheaply mass produced and thus available for many people to cheaply decorate their homes in the latest styles. Reproduction was possible and popular resulting in an enduring style which could be said to be eclectic The Victorian Era is named after the reigning monarch, of the second half of the 19th century Queen Victoria.This pair of prints has little provenance but being typical of the era will be useful for display. These are a matching pair of framed prints of a young boy and girl with a wide dark green border around the edge with a row of dots on the outside of the glass. The boy is holding posy of violets and the girl a fan. The edge is finished in a metal, possibly tin. Both are backed with heavy card. The glass on the girl frame is broken .There is a small metal chain from the girl frame.warrnambool

This Kodak camera was a popular model early in the 20th century. This one belonged to Elisabeth Tait (nee Pearson). Elisabeth Pearson was born in 1911 to James and Amy Pearson. Her father had established, in 1910, the clothing firm of Pelaco in association with James Law. The business mostly produced men’s shirts. Elisabeth Pearson married a Warrnambool lawyer and was known for her community work, especially in connection with the Warrnambool Ladies’ Benevolent Society. She joined this society in March 1969 and became president in November, 1961. She retained this position until the society was disbanded in 1993. This camera is retained as a memento of Elisabeth Tait, a well-known Warrnambool person in the 20th century. .1 This is a brown leather camera case with a metal catch and a leather shoulder strap. The case has stitching along the sides. The initials of the owner are stamped in gold lettering on the front of the cover. The leather is somewhat rubbed. 2. This is a Kodak camera with a black covering and a telescopic mechanism inside. It has gold lettering on the back. ‘E.M.P.’ (twice) ‘Use film no. A 116’ ‘No 2A Folding Autographic Brownie’ ‘Kodak’ ‘Tait 246 Lava Street Warrnambool’ 20th century photography, elisabeth tait, warrnambool

These labels were used in the business of E.B.Phillips, firstly when he as in partnership with Thomson in the late 1890s and later when he was the sole proprietor. Ernest Brighton Phillips (1875-1924) was a furniture maker and seller with a business at the corner of Liebig and Koroit Streets. At the beginning of the 20th century it was the largest furniture warehouse and factory in Victoria outside of Melbourne. Samples of his furniture making are still in use in various parts of Australia. Philips built his home, ‘Heatherlie’, diagonally opposite his business and this site today is occupied by ‘Heatherlie’ flats for the elderly.These labels are of interest as mementoes of the Warrnambool furniture shop and factory of E.B.Phillips, a prominent businessman in Warrnambool a hundred or more years ago. .1 A sheet of cream-coloured paper with cream printing on an orange background and a space for an address. The sheet has two ragged edges. .2 A circular label or sticker pasted on to an irregular-shaped sheet of brown paper (part of the original wrapping). The label has an image in brown and white tonings of a woman with an easel, some stylized decoration and blue and white printing. The edges of the label are worn away. .1 Late with J.J.O’Mullane From Phillips, Thomson and Co. General House Furnishers Corner Liebig & Koroit Sts. Warrnambool .2 Framed by E.B.Phillips The Artistic House Furnisher and Picture Framer Warrnambool ernest brighton phillips, history of warrnambool, labels, heatherlie

This kettle would have been used on top of a wood stove to boil water to make tea and other beverages and to use for other household purposes. It would have been a common household item in Australian homes from the beginning of European settlement up about the mid 20th century when wood stoves, although still in use in many country areas, were largely superseded by gas or electric stoves in most households. The kettle was made of durable material as it usually remained on the top of the stove for most of the day so that hot water was readily available. This kettle is retained as an example of an essential household item used in the past. It will be useful for display.This is a circular-shaped black iron kettle with a handle and a spout. The lid is circular. The kettle is rusting inside. vintage household items, history of warrnambool

This top hat, with the initials J.H.H., belonged to John Hunter Henderson, a doctor who practised in Warrnambool from 1904 to 1939. For many years he was a member of the Warrnambool Hospital Board of Management. On his retirement in 1939 he went to live in Melbourne where he died aged 81. The John Hunter Henderson fund was established at the Warrnambool Hospital to develop the training facilities for medical and nursing staff. The bowler hat belonged to his driver (name unknown) and it is presumed that he drove a horse and buggy in the early years of the 20th century. These items are of considerable significance as they are associated with Dr Henderson, a long-serving doctor in Warrnambool and they show the status and comparative affluence of doctors in the first half of the 20th century. .1 This is a black top hat with the crown covered in beaver fur or felt of some kind. The upturned brim is slightly worn on one edge. The crown has a black corded band with a bow on one side. There is a stud with an air hole on the crown. Inside there is a brown leather lining with information on the maker on the inside base and a crown image. .2 This is a bowler hat made of black felt with lining on the edges of black cotton material. The brim is slightly turned up on the sides. The crown has a black corded band with a bow at one side. There is a circle of air holes on the side of the hat. Inside there is leather lining with some information on the maker on the inside base. .3 This is a hat box lid with a leather covering over cardboard. It is a spherical shape with some side damage where the leather is peeling. There is a leather strap handle with a metal buckle. There are remnants of travel labels pasted on to the lid. .4 This is a hat box made of leather with a metal lock on one side. It has remnants of paper travel labels on the sides. Inside the box is an insert made of maroon-coloured cardboard for storing the top hat. This insert has a leather strap to stabilize the hat. There is a name on the base of the box written on a piece of adhesive plaster. .1 J.H.H. Woodrow & Sons Hat Manufacturers to H.M. the King 13 Market St Manchester, 8 Castle St Liverpool, 45 Piccadilly London, 42 Cornhill, London, 11 Gordon St Glasgow, 40 Westmoreland St Dublin, Made in England Lincoln, Stuart & Coy Proprietary Limited Flinders St Melbourne .2 The Tropical Hat .3 Midland Railway .4 Dunedin, F.H.Moreton doctor john henderson, warrnambool, history of warrnambool, top hat

This wooden proddey has a rounded handle and a cone shape with a point at the bottom. It is used for making rag rugs. The wood is discoloured at the pointed end, indicating that is has been used. The tool is part of the W.R. Angus Collection. Traditionally, in the 18th and 19th centuries, rag rug making was a domestic craft. Old or worn-out fabrics and clothing would be cut into strips then proddey would be used to poke the strips through a woven backing fabric. The fabrics were re-purposed and the rugs provided warmth or protected the floors from fluids or dirt.The proddey is an example of a tool used for rag rug making, in the 18th and 19th centuries. The handcraft returned to popularity in the early 20th century. 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.Proddey; teardrop or conical shape, light-coloured wood, used for rag rug making. Tool has a rounded handle and is decorated with two scored lines around the top of the cone. Part of the W.R. Angus Collection. Dr Angus lived and worked in Warrnambool with his family from the 1930s to the 1960s. He was the last doctor to pe appointed as a Port Medical Officer. He and his wife were actively involved in the local community. He enjoyed several pastimes, such as billiards, weaving, pastel drawing and rag rug making.warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, hand craft, homemade, rag rug, rug making tool, proddie, recycled fabric, cottage craft, 18th century, 19th century, handmade, floor mat, mat, rug, w.r. angus, craft, handcraft, recycle

There is evidence of the game of marbles in the ruins of Pompeii and the tombs of Egyptians as well as early American Indians. The earliest marbles were simply rounded stones which had been polished but this was refined to handmade versions made of clay, stone and glass. It was in the late 19th century that mass production began and it gives testament to the popularity of the game that the Dyke factory of Ohio could produce 1,000,000 marbles a day. It was around 1915 that the mass production of glass marbles began. The game reached the height of popularity in the 1920-1930’s. Many were prized for their designs.The game of marbles was one of the most common games played universally, from childhood hence has a strong link with people of all ages and cultures. Five marbles in glass jar. All are various sizes ranging from large yellow streaked with red and blue, black striped with white, marbled tan, clear with multi coloured streaks and bright blue. Shapes are roughly spherical. Materials range from glass to glazed and stone. Three have pontil marks either on end.The lid of the jar has Nestle vacuumed sealed for extra protection. Use special key to open. Old sticker on base with 173 written in black lead pencil. toys, marbles, children's games, warrnambool, handmade marbles, glass marbles, clay marbles, agate marbles