This is the home of Ernest Augustus Young (1891-1985) and Ruby Nichell Whitby (1892-1984) and their son Ernest Lance Young. Lance was born 24 March 1915 in Surrey Hills; after he married Beryl Mair. Electoral roll for 1937 gives the house name as 'Whitby Lodge'. Ernest and Ruby also had twins Clive and James who died in infancy. Buried at Box Hill Cemetery - M-*-0867 (family plot) This is part of a large collection relating to the Mair, Deakin and Young families. REF: Memoir of Laurie Newton (nee Young) - Her grandfather bought the land and had the house built. She remembers it as having pressed ceilings in some rooms and ornate fireplaces and tiles and leadlight windows in some rooms and doors with leadlight panels. Her grandfather was a keen gardener with an ornamental front garden and many vegetables and fruit trees in the back yard. Her grandfather sold the adjoining block (No 3 York Street), which had been used for growing flowers and vegetables, to John and Edna Jean. Reid. She also remembered that he extended the house and divided it into 2 flats, renting out the northern side for 20 years. Sold by Jellis Craig on 24 December 2010 - With formal living, dining, 3 bedrooms, 2 bathrooms, garage/ample OSP. Land: 18.2m x 40.8m (60' x 134') approx. Large 2 storey house replaced the house. Adjacent house (No 7 York Street) has been renovated. This is part of a large collection relating to the Mair, Deakin and Young families. Colour photo of the street view of 5 York Street, Mont Albert. Taken from the verge, it is a good view of the front of the house. The house is weatherboard with a red corrugated iron roof with simple finials. It is Edwardian in style with simple chimneys in brick and stucco. There is a small veranda with simple fretwork on the southern corner of the house and a bay window to one of the front rooms. There are striped canvas blinds, which are down, on the windows of the 2 front rooms, above which are small lead light windows. The house is partly screened by a mature shrubs. The garden is set behind a fence low fence and constructed from dressed stone. In black permanent marker on rear: "5 YORK ST / NOV. 1999" ernest augustus young, ruby nichell whitby, ruby nichell young, ernest lance young, box hill cemetery, whitby lodge, house names, mont albert

This is the home of Ernest Augustus Young (1891-1985) and Ruby Nichell Whitby (1892-1984) and their son Ernest Lance Young. Lance was born 24 March 1915 in Surrey Hills; after he married Beryl Mair. Electoral roll for 1937 gives the house name as 'Whitby Lodge'. Ernest and Ruby also had twins Clive and James who died in infancy. Buried at Box Hill Cemetery - M-*-0867 (family plot) This is part of a large collection relating to the Mair, Deakin and Young families. REF: Memoir of Laurie Newton (nee Young) - Her grandfather bought the land and had the house built. She remembers it as having pressed ceilings in some rooms and ornate fireplaces and tiles and leadlight windows in some rooms and doors with leadlight panels. Her grandfather was a keen gardener with an ornamental front garden and many vegetables and fruit trees in the back yard. Her grandfather sold the adjoining block (No 3 York Street), which had been used for growing flowers and vegetables, to John and Edna Jean. Reid. She also remembered that he extended the house and divided it into 2 flats, renting out the northern side for 20 years. Sold by Jellis Craig on 24 December 2010 - With formal living, dining, 3 bedrooms, 2 bathrooms, garage/ample OSP. Land: 18.2m x 40.8m (60' x 134') approx. Large 2 storey house replaced the house. Adjacent house (No 7 York Street) has been renovated. This is part of a large collection relating to the Mair, Deakin and Young families. Colour photo of the street view of 5 York Street, Mont Albert. Taken from the rear of the house verge, it is a good view of the front of the house. The house is weatherboard with a red corrugated iron roof with simple finials. It is Edwardian in style with simple chimneys in brick and stucco. There is a small veranda with simple fretwork on the southern corner of the house and a bay window to one of the front rooms. There are striped canvas blinds, which are down, on the windows of the 2 front rooms, above which are small lead light windows. The house is partly screened by a mature shrubs. The garden is set behind a fence low fence and constructed from dressed stone. In black permanent marker on rear: "5 YORK ST / NOV. 1999" ernest augustus young, ruby nichell whitby, ruby nichell young, ernest lance young, box hill cemetery, whitby lodge, house names, mont albert

This was the home of 3 generations of the Coop family: 1. Josephine and George Frank Coop (noted in Box Hill Rate Books for 1947-1954). 2. George Burton Coop (1906-1960) and his family. He was Assistant Chief Architect of Victoria in the Public Works Department (P.W.D.) George Burton Coop was born in c1906 in Williamstown, the son of Josephine Vistarini and George Frank Coop. He married Winifred Alice Trewartha in 1936 and they are listed in the electoral rolls at 688 Whitehorse Road in 1937. George died 3/4/1960, aged 54 years at Mont Albert. 3. George Burton and Alice Coop had 2 children: George Lister Coop - born St Georges Hospital, 8/10/1937 Alison - born c1945. The donor George Lister Coop informed that he initially attended Chatham State School because his first home was the Spanish Mission style flats at 346 Whitehorse Road, opposite Brenbeal Street, Balwyn. When his grandparents died, the family moved to 688 Whitehorse Road and he then attended Mont Albert Central School. The California bungalow style of housing was the dominant style of housing built in the interwar period through the northern parts of Surrey Hills and Mont Albert as formerly semi-rural land was subdivided for new housing. It was relatively inexpensive and affordable. In Australia the Californian bungalow drew upon elements that were popular across the United States from around 1910 to 1939. In Australia the style became popular from 1913. In Melbourne both timber and red brick were used as the main building material. Typically they are one or one and a half story houses and feature sloping roofs and eaves with unenclosed rafters and often a feature a dormer window (or an attic vent designed to look like one) over the main portion of the house. Decorative elements include wood shingles, part stucco rendered exteriors, brick, stone, rendered or a combination of these treatments to exterior chimneys and front porches supported by heavy timber, brick or stucco columns.A sepia photo taken at an angle from the street corner of the property. It is of a Californian bungalow with a driveway that extends through a carport, attached and roofed as part of the house, to the rear of the property. The veranda is accessed from under this covered area. The veranda and carport are supported by brick pillars and the veranda balustrades between are plain with an occasional wider feature panel. The front door is in shadow. There are rolled up striped canvas blinds on the veranda and at least 2 cane chairs. The main structure of the house is weatherboard with a terracotta tiled roof. There is a flower bed across the front of the house with an elevated brick flower box under the main window. There are no chimneys visible.californian bungalow, whitehorse road, george frank coop, (miss) josephine vistarini, (mrs) josephine coop, george burton coop, (miss) winifred trewartha, (mrs) winifred coop, george lister coop, alison coop

In the mid to late 1930’s survey outposts were established to plot the early stages of the Kiewa Hydro Electric System for the SECV in the Bogong High Plains. Before any roads were built, the old cattleman’s tracks were used with packhorses to deliver supplies, wages and mail and collect timesheets and correspondence from the workmen and dam builders living in canvas tents and at the outlying survey posts. The trip up the mountain was long and hard and dangerous for both horse and man Most of the men of the survey teams were not bush-men and were often ill equipped for the harsh weather and living conditions of bush camping, often arriving in their city clothes ready for work. The tent city at Bogong was destroyed by bush fires in 1939 after which an access road was built from Mt Beauty to transport building materials for more permanent dwellings for workmen. Pack horses continued to be used for transporting goods etc. to workers further up the mountain.Without the work of horsemen and their pack horses providing supplies and communications for outlying outposts, surveying and early planning for the Kiewa Valley Hydro Electric scheme could not have gone ahead and the dams and power stations which support the system could not have been constructed. The Hydro-electric scheme, and the workers who planned and built it play a major part in the early history of the Kiewa Valley and many original families still remain living, or have ties with the local area.: Set of 21 black and white photographs and copies of photographs depicting the pack horses and the men who handled them, transporting supplies and correspondence to the outlying camps and survey posts in the Bogong High Plains, via the rough cattlemen’s tracks. Photographs also show the early tent camps of the workers. Some photos mounted on A4 white paper. Some photos enlarged to A3 poster size for display1. Handwritten on back – Max Lawrence 2. -8 No inscriptions 9. Handwritten on back- Packing in supplies for early workers of the Kiewa Hydro scheme. There were no roads in the early days of the scheme 10. Printed on bottom of photo- Roper’s cattle on road below Howman’s Gap 11. Handwritten on back – Roper’s et al about to leave for the high plains 12. Printed under photo- Syd Ryder at the Pretty Valley Cut-Out (JBR) 13-16. No markings 17. Printed under photo- Gwen Talbot visits the Camp area. 1937 18. Handwritten on back- 14/1 Barbara Talbot 19. No markings 20-21. No markings 22. Printed under photo- STATE ELECTRICITY COMMISSION OF VICTORIA. Date: 15-3-45 Time: 8.0pm No: K 1838 Kiewa Hydro-Electric Works, Investigations 1944-1945 – Survey Camp at Young’s Hut pack horses; bogong high plains; survey posts; supplies delivery

This linesman belt was used under the 1947 Electricity Regulations and before tighter Occupation and Health regulations (late 1990's early 2000's) were introduced that mechanical lifting platforms(wherever possible) replaced the belt up the pole method.The safety concern was that it required that tools needed by the linesman had to be placed in a large canvas bag and attached to the belt (extra weight) then the linesman had to climb the ladder. Ladders had to be at the correct angle and not able to "slip" from their initial footings. A full harness and a secondary fall belt is now mandatory for pole linesmen. The safety of fellow workers could be compromised if they were required to assist or recover the first linesman if needed. In 2006 an additional 269 registered lineworkers were employed. Please note that the terminology of linesman has become unisex. The linesman's belt enabled the linesman to place his feet against the pole adjust the belt (if needed) and lean back securely allowing both hands to be free to work with. This linesman belt is very significant to the Kiewa Valley due to the numerous poles and high voltage overhead power structures that needed maintenance for the extensive "mushroom" installation of electrical power polls(wood and metal). On high poles (steel) climbing pegs were welded on, however in the Alpine areas snow in winter caused an OH&S problem which were hard to overcome. The safety of a linesman when maintenance of electricity line on poles can be highlighted by the New Zealand linesman who survived an 11,000 volt shock when carrying out maintenance. For the record 11,000 volts is four times more powerful than execution by "the electric chair". The maintenance of the linesman's belt was his responsibility (keeping it clean and in "good" condition). Labour laws change this initial responsibility, from the linesman, to the employer. Climbing pegs were installed on higher poles that extended beyond the reach of ladders.This thick leather linesman belt is made from two lengths of heavy lengths of leather straps sewn together to make up 80% of the belt. The remaining 20% is "the belt tonge" which has eleven holes for three (solid steel tang) buckle connections.kiewa hydro electricity scheme, victorian state electricity commission, relays, generators, electrical pole maintenance

The bosun’s chair is a typical piece of equipment included on board a vessel in the late 19th and early 20th century. The nautical word 'bosun' is an abbreviation of the word 'boatswain' who is the person responsible for the repair and maintenance of the vessel. It could be used when rigging the sails and for rescue at sea, along with a thick rope anchored on shore or a rope between ships. It could also be used to move passengers to and from a ship as well as cargo on, to and from the vessel. A bosun's chair is a simple piece of equipment made from a short plank of wood and a sturdy piece of rope. It looks a little like a child's swing but usually has a pulley system that allows the user to adjust the length of the hanging piece of rope, and in so-doing adjusts the height above the floor or ground or sea. In modern times a harness would also be worn by the bosun’s chair user for safety reasons. Bosun's chairs are also used by window cleaners, construction workers and painters. The bosun’s chair is sometimes just a short plank, or even a canvas sling. The bosun's chair is significant for its association with maritime equipment carried on board a vessel in the late 19th and early 20th century for maintenance and safety purposes. It was occasionally used to save lives. The bosun's chair is also significant as an early version of equipment still used today. Since its invention there have been many safety features added in certain industries such as window cleaning and painting.Bosuns chair; flat smooth rectangular piece of wood, with rope passing through two holes at each end of plank and looped together above plank to form a suspended seat swing. Loops a are joined with knot work and ends are spliced together under the seat.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, bosun's chair, bosuns chair, boatswains chair, rigging, maritime equipment, bosun's seat, life saving, marine technology, ship rigging

The bosun’s chair is a typical piece of equipment included on board a vessel in the late 19th and early 20th century. The nautical word 'bosun' is an abbreviation of the word 'boatswain' who is the person responsible for the repair and maintenance of the vessel. It could be used when rigging the sails and for rescue at sea, along with a thick rope anchored on shore or a rope between ships. It could also be used to move passengers to and from a ship as well as cargo on, to and from the vessel. A bosun's chair is a simple piece of equipment made from a short plank of wood and a sturdy piece of rope. It looks a little like a child's swing but usually has a pulley system that allows the user to adjust the length of the hanging piece of rope, and in so-doing adjusts the height above the floor or ground or sea. In modern times a harness would also be worn by the bosun’s chair user for safety reasons. Bosun's chairs are also used by window cleaners, construction workers and painters. The bosun’s chair is sometimes just a short plank, or even a canvas sling. The bosun's chair is significant for its association with maritime equipment carried on board a vessel in the late 19th and early 20th century for maintenance and safety purposes. It was occasionally used to save lives. The bosun's chair is also significant as an early version of equipment still used today. Since its invention there have been many safety features added in certain industries such as window cleaning and painting.Bosuns chair, rectangular slab of wood with two holes at both ends through which rope ends are threaded for support and the loops above the seat are tied with sailor's knotting to form a triangle. flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, bosun's chair, bosuns chair, boatswains chair, rigging, maritime equipment, bosun's seat, life saving, marine technology, ship rigging

From the early 1960s, the Forests Commission had pre-season arrangements in place with local aeroclubs and pilots across regional Victoria. Air observers from FCV districts routinely flew during the summer months in small, fixed-wing aircraft on fire spotting missions and to map fire boundaries. The information was often needed quickly by crews on the ground or in the control centre and these small chutes were used to drop messages and maps from the reconnaissance aircraft on a low pass above a cleared area like a football field. About 3-foot long when fully extended, they had a small pouch secured with a press stud for the map or package. The chutes were made from tough canvas with a small, weighted sandbag at one end and a long yellow streamer tail on the other to help direct its fall and locating it on the ground. Drop chutes were still in common use in the 1990s, but the increased availability of helicopters combined with improved digital data transfer made drop chutes redundant. Simple, but now redundant technologyAerial drop chute"Return to Forests Comm Vic" stenciled on sidebushfire

Part of the Wagga collection. Maker unknown, c. early 1940s. Possibly from South Australia. This 'travelling rug' was found in an opportunity shop in Campbell's Creek near Castlemaine in Victoria. Unfortunately, nothing is known about the maker but it could be surmised that the quilt had many uses. It is heavy and designed for warmth, lined with a woollen blanket and hessian. Its size suggests usage in an open buggy or car when travelling or as a picnic rug along the way. The sturdy canvas backing is of the type commonly used for awnings, chair coverings or tent cloth. The quality of the green velvet made it ideal for further use as a quilt after the original use as an overcoat or smoking jacket for either a man or a woman. Apart from the original machine stitched seams in the garment, it is sewn together by hand using herringbone stitch. It is not known if this quilt was designed to be used with a cover. However, the arrangement of pieces in the garment to create a shape with straight edges may suggest that this may have been a consideration.Travelling rug made of wool, cotton and green velvet.No. 27 "Travelling rug" Maker Unknown Running Stitch Collection...quilting history, handicrafts, running stitch group, blankets, running stitch collection, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), quilting - history

Gloria PETYARRE (c.1942 - 2021) Born: Mosquito Bore, Utopia, Northern Territory Language Group: Anmatyerre Community: Utopia, Northern Territory Gloria Petyarre's depiction of the Kurrajong bush medicine leaves with her layered, swirling brushstrokes is her iconic motif. In 1999 Gloria Petyarre became the first Indigenous Australian artist to win the 'Wynne Prize for Landscape' at the New South Wales Gallery. She is credited with being the creator of this popular style, which was adopted and adapted by several generations of her family members over Gloria's retirement in 2019. The artistic tradition in Utopia started in the Utopia Women's Silk Batik Group introduced in 1977. Gloria Petyarre and her aunt Emily Karne Kngwarrye were found members of this group. Gloria Petyarre started painting on canvas in 1988 with her brushstrokes and layered paint having foundations in the batik tradition. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Utopian Art Movement‘Bush Medicine Dreaming’ depicts the leaves of a special plant that is used to aid in the healing process. The leaves are collected and then boiled to extract the resin. Following this, the resin is mixed with kangaroo fat collected from the kangaroo’s stomach. This creates a paste that can be stored for up to six months in bush conditions. This medicine is used to heal cuts, wounds, bites, rashes and as an insect repellent. The Dreaming that is the basis for Petyarre’s paintings comes from the important ceremonies and traditions held by the people of Atnwengerrp. art, artwork, gloria petyarre, aboriginal, utopia

The Argus reports that “In 1916 the members of the bar took the opportunity afforded by his [a’Beckett’s] 80th birthday, and the completion of 30 years on the bench to present to the judges of the Supreme Court, with his permission a portrait of himself, to be placed in line with portraits of other judges in the Supreme Court library. The portrait which depicts Sir Thomas a’Beckett in his robes, was an excellent piece of work of Mr Max Meldrum. The unveiling was made the occasion of a little demonstration at which some congratulatory speeches were made." Sir Thomas a'Beckett arrive in Melbourne as a teenager with his parents in 1851. His uncle was the former Chief Justice, his father a well known solicitor. At the Bar Sir Thomas mainly worked in the Equity jurisdiction, which he took as a specialisation with him to the bench. This is an early work of Meldrum, he won the Archibald prize for portraiture in 1939 and 1940.The portrait is of interest for whom it portrays and as the early work of a well known artist.A full length portrait in oils of Justice Sir Thomas a'Beckett. Sir Thomas is seated, his feet placed on a plush red foot stool. He is dressed in his red judicial robes with white fur trimming and black trousers and a full bottomed wing. Justice a’Beckett has a white beard and moustache, he was 80 years of age when this portrait was painted. In his hand he holds a rolled document. At his elbow, there are books upon a table. He sits in a fine carved wood and leather chair, in the background a gold frame is just visible. A line in the canvas indicates that the size of the painting was expanded. The frame is gold with a gum leaf motif.Max Meldrum 1916a beckett, max meldrum, judge

Wooden tripod mount for lamp, signalling daylight, short range, MK II. The legs are shaped to a point at the bottom and shaped to form a circle when closed. Each leg has a metal fitting attached by metal screws at the top, which supports a circular metal collar fitting for the mounting of the lamp. A khaki coloured stiched canvas webbing with brass buckles is attached at one end to the metal fitting at the top of one leg. The other end has a circular sleeve for using to keep the wooden tripos mount legs closed for storage. One leg has a small brass ring mounted at the top. A metal hook is mounted under the lamp mounting collar.STAND LAMP OR HELIO A MK IItripod, helio, lamp, daylight

Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the commencement of the SEC fare system. Generally issued c1966 following decimal currency, not formally used.Two number - 3 No. - Paper SEC ticket - 4c City Section in value, (Four cents) - orange ink on off white paper, numbered A280738, 740 and 741. The ticket price is in orange ink while the ticket number itself is in black ink. On rear in orange ink is a diagonal criss cross or tartan pattern. Tickets have not been used, torn complete from block. Have not been numbered on rear. All tickets and Reg Item 4006, 4007, 4009 to 4018 were received originally in a folded cloth wrapper - wax canvas? - see Reg item 4009. See Alan Bradley notes on SEC tickets. trams, tramways, secv, ticket, transfer tickets

Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the commencement of the SEC fare system. Generally issued c1966 following decimal currency, not formally used.Two number - 2 No. - Paper SEC ticket - 6c City Section in value, (Six cents) - purple ink on off white paper, numbered A087609 and A087612. The ticket price is in purple ink while the ticket number itself is in black ink. On rear in purple ink is a diagonal criss cross or tartan pattern. Tickets have not been used, torn complete from block. Have not been numbered on rear. All tickets and Reg Item 4006, 4007, 4009 to 4018 were received originally in a folded cloth wrapper - wax canvas? - see Reg item 4009. See Alan Bradley notes on SEC tickets. trams, tramways, secv, ticket, transfer tickets

The Heidelberg School Artists Trail was established in about 1999 with about 52 signs across four local governemnt areas including Nillumbik and Banyule. It extends from Heidelberg through Eltham and Warrandyte and to the Dandenongs. It features signs depicting paintings of artists in the location in which they were painted. This one acknowledges "On the Eltham Road", 1906. Transcription of the text states: "In this cheerful rural landscape, Walter Withers has captured the spirit of early Eltham. Eltham was a quiet, sleepy village, where geese wandered up the main Road and the locals either walked or rode their horses or bicycles around the township. Walter Withers was known to load up his bicycle with his collapsible easel, folding stool, paint box, water bottle and canvases, and would head off for a day’s painting. He was also known for his walking, as was his family, and they became known as the ‘Walking Withers’ Part of a slide show presentation "A Trip Down the Diamond Creek" by Russell Yeoman to the Eltham District Historical Society meeting of 14 Nov. 200135mm colour positive transparency Mount - Black and Whiteeltham, alistair knox park, heidelberg school artists trail, on the eltham road, public art, sign, walter withers

Without refrigeration, storage of meat was difficult. Flies were a problem, and it was important to keep meat cool and out of the way of pests. One way of doing this was to use a meat safe: a kind of cupboard designed to store meat and keep it fresh enough to eat. Meat safes are ventilated. They were sometimes made with sides of wire mesh or perforated metal, so that air could circulate around the meat while keeping flies and other animals out.The Coolgardie safe was invented in the late 1890s by Arthur Patrick McCormick, who used the same principle as explorers and travelers in the Outback used to cool their canvas water bags Originally they were handmade using materials to hand. In the early 20th century, Coolgardie Safes were manufactured commercially across Australia, and found their way into homes in both rural and urban areas. These safes incorporated shelving and a door, had metal or wooden frames and Hessian bodies. The feet of the safe were usually placed in a tray of water to keep ants away. (refs ABC-Home; Museum Victoria)The Coolgardie safe was an Australian invention used especially in country areas from the 1890s until the mid 20th century. It began to be replaced by ice chests from the turn of the twentieth century in cities and country towns which had ice works. This item is an example of a domestic appliance commonly used before electricity was widely available for domestic use.A cube-shaped metal Coolgardie safe painted blue. It has a triangular hook on the top for hanging or lifting. There are small feet at bottom . The sides are perforated in a Above the door; Inside a rhomboid shape "WILLOW"food-storage coolgardie-safe domestic

Without refrigeration, storage of meat was difficult. Flies were a problem, and it was important to keep meat cool and out of the way of pests. One way of doing this was to use a meat safe: a kind of cupboard designed to store meat and keep it fresh enough to eat. Meat safes are ventilated. They were sometimes made with sides of wire mesh or perforated metal, so that air could circulate around the meat while keeping flies and other animals out.The Coolgardie safe was invented in the late 1890's by Arthur Patrick McCormick, who used the same principle as explorers and travelers in the Outback used to cool their canvas water bags Originally they were handmade using materials to hand. In the early 20th century, Coolgardie Safes were manufactured commercially across Australia, and found their way into homes in both rural and urban areas. These safes incorporated shelving and a door, had metal or wooden frames and Hessian bodies. The feet of the safe were usually placed in a tray of water to keep ants away. (refs ABC-Home; Museum Victoria)This item is an example of a common domestic appliance used before the widespread connection of electricity to homes and refrigeration. The Coolgardie meat safe is an Australian invention used widely in rural areas from the 1890's until the mid 20th century.A metal meat safe, painted white. It has a shelf inside. The door has two perforated rectangular sections metal framed in solid metal. The base is flat.storage domestic coolgardie-safe

This lifebuoy is part of the lifesaving equipment that would be carried on vessels in the late 19th and early 20th century. The strips of cork wood have been joined together to make the ring shape. A lifebuoy, or life-preserver, is used as a buoyancy device to keep a person afloat in the. It is usually connected by a rope to a person in a safe area such a nearby vessel or on shore. The lifebuoy is thrown to a person in distress in the water, allowing the rescuer to pull the person to safety. The lifebuoy is a made from a buoyant material such as cork or rubber and is usually covered with canvas for protection and to make it easy to grip. The first use of life saving devices in recent centuries was by the Nordic people, who used light weight wood or cork blocks to keep afloat. From the early 20th century Kapok fibre was used as a filling for buoys. Light weight balsa wood was used as a filler after WW1. In 1928 Peter Markus invented and patented the first inflatable life-preserver. By WW2 foam was combined with Kapok. Laws were passed over time that has required aeroplanes and water going-vessels to carry life-preservers on board. The lifebuoy is an example of equipment carried on vessels in the late 19th and early 20th century to help preserve life. There were many lives lost in Australia’s colonial period, particularly along the coast of South West Victoria.Lifebuoy, round cork object covered with white stiffened material wound around it. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lifebuoy, life rings, safety ring, life-saving buoy, ring buoy, life preserver, personal floating device, floatation device, safety equipment

This lifebuoy is part of the lifesaving equipment that would be carried on vessels in the late 19th and early 20th century. The strips of cork wood have been joined together to make the ring shape. A lifebuoy, or life-preserver, is used as a buoyancy device to keep a person afloat in the. It is usually connected by a rope to a person in a safe area such a nearby vessel or on shore. The lifebuoy is thrown to a person in distress in the water, allowing the rescuer to pull the person to safety. The lifebuoy is a made from a buoyant material such as cork or rubber and is usually covered with canvas for protection and to make it easy to grip. The first use of life saving devices in recent centuries was by the Nordic people, who used light weight wood or cork blocks to keep afloat. From the early 20th century Kapok fibre was used as a filling for buoys. Light weight balsa wood was used as a filler after WW1. In 1928 Peter Markus invented and patented the first inflatable life-preserver. By WW2 foam was combined with Kapok. Laws were passed over time that has required aeroplanes and water going-vessels to carry life-preservers on board. The lifebuoy is an example of equipment carried on vessels in the late 19th and early 20th century to help preserve life. There were many lives lost in Australia’s colonial period, particularly along the coast of South West Victoria.Lifebuoy, round cork object with no covering. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, life rings, lifebuoy, safety ring, life-saving buoy, ring buoy, life preserver, personal floating device, floatation device, safety equipment

This lifebuoy is part of the lifesaving equipment that would be carried on vessels in the late 19th and early 20th century. The strips of cork wood have been joined together to make the ring shape. A lifebuoy, or life-preserver, is used as a buoyancy device to keep a person afloat in the. It is usually connected by a rope to a person in a safe area such a nearby vessel or on shore. The lifebuoy is thrown to a person in distress in the water, allowing the rescuer to pull the person to safety. The lifebuoy is a made from a buoyant material such as cork or rubber and is usually covered with canvas for protection and to make it easy to grip. The first use of life saving devices in recent centuries was by the Nordic people, who used light weight wood or cork blocks to keep afloat. From the early 20th century Kapok fibre was used as a filling for buoys. Light weight balsa wood was used as a filler after WW1. In 1928 Peter Markus invented and patented the first inflatable life-preserver. By WW2 foam was combined with Kapok. Laws were passed over time that has required aeroplanes and water going-vessels to carry life-preservers on board. The lifebuoy is an example of equipment carried on vessels in the late 19th and early 20th century to help preserve life. There were many lives lost in Australia’s colonial period, particularly along the coast of South West Victoria.Lifebuoy; round, cork filling of lifebuoy. The nails joining the layers are visible. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, life rings, lifebuoy, safety ring, life-saving buoy, ring buoy, life preserver, personal floating device, floatation device, safety equipment

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. The Federation University Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.'Looking for God in Abstract Art 2' is a play on the debate over the respective virtues of abstraction and figuration that has preoccupied artists and critics for more than a century. Sanson has always walked a wobbly line between the two, adroitly avoiding falling headlong into either camp. It is also a gentle dig at the pretensions to higher spiritual meaning in abstract art. In the centre are two photographs, one of rubber masks and the other of the artist in a lurid fright wig and mask and using a spray can like a young tagger. These images, where the artist wears a mask and teeters on bright red platforms, are wonderfully ludicrous send-ups of the 'fine art' of painting. (Geoff Wallis from 'Gareth Sansom: Alternative Person", Art Gallery of Ballarat, 2012) This work was exhibited and published in the catalogue of the exhibition 'Gareth Sansom: Alternative Person' at the Art Gallery of Ballarat in 2012 item. art, artwork, gareth sansom, sansom, mixed media, oils, enamel, photo-collage

Gareth SAMSOM (19 November 1939- ) Born Melbourne Sansom describes a desire to constantly surprise and challenge himself as an artist. He had his first exhibition in 1959. His paintings of the 1960s were characterised by a distorted use of line, shape and colour and were influenced by abstract expressionism, Francis Bacon and Sidney Nolan. Over time, his work has also drawn on punk, dada, Basquiat, T.S. Eliot, urban graffiti, classical Greek philosophy and art theory across a variety of media ranging from drawing, printmaking and collage to photomontage and photography. Sansom lectured in Art at the Ballarat Teachers' college, and was appointed Head of Painting at the Victorian College of the Arts from 1977-1985, and Dean School of Art at the Victorian College of the Arts from 1986-1991. He was artist-in-residence at the University of Melbourne in 1985, which was when he resumed his full-time painting practice with a series of large works on canvas. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.A large abstract painting.art, artwork, garth sansom, sansom, abstract

A serving mallet is a tool to worm, parcel and serve a line and is to apply to the standing rigging multi-layered protection against chafe and deterioration. It is a technique not usually used on modern small boats but is found extensively on traditionally-rigged sailing ships. Worming, parcelling and serving —referred to collectively as "service"— is traditionally applied only to traditional twisted rope, either natural fibre or steel wire-rope, not the braided line almost exclusively used on modern vessels today. Parcelling means wrapping a rope line in a spiral fashion with long overlapping strips of thin canvas. This is wound from bottom to top, the edge of the progressing strip slightly overlapping the previous wrap to create a shingled effect, to prevent water from entering. Often the strips of the canvas are either saturated with Stockholm tar as they are applied, or painted with tar after the parcelling is complete, immediately before the process of serving. A serving provides an outer layer of protection and is formed by wrapping twine as tightly as possible around the line, each progressive turn of the twine laid as close as possible against the last, covering the rope completely. Following the rhyme above, it should have course run against the lay of the rope; this alternation helps prevent sideways chafe from opening up the protection. Traditionally hemp "marline" was and still is used for servicing on modern small craft with three-strand nylon "seine twine" often used. A serving board or serving mallet can be used to help get the outer twine as tight as possible. Despite the name (arising from its shape) the serving mallet is not used to hit anything, it forms a kind of guide and tensioning lever for applying the twine to the rope. An optional final stage for the permanent protection of "served" rope is to paint the outer layer of twine with a mixture of tar, varnish and black paint. This needs renewing periodically, and going aloft to paint foot ropes, shrouds, stays, and other served rigging is one of the regular maintenance tasks on many tall ships. The tar or "slush" is a mixture of Stockholm tar, boiled linseed oil, and Japan drier. Many "recipes" for slush exist, but the intent is always to allow a penetrating coat of preservative pine tar that then cures to a harder finish that will not so easily rub off on sails and crew. The term "slush" is also used to describe the grease applied to the masts to lubricate the “parallels” so that the yards can raise and lower freely.A tool used by sailors on board sailing ships as an aid in the preservation of ships rigging ropes by wrapping the rope in tar soaked canvas and covering the canvas by wrapping twine along the length of the rope. An item that is significant in that it tells a story of what sailors working lives were like onboard the early sailing ships and how these early vessels were maintained and sailed. Serving Mallet, used in Worming, Parcelling and Serving of rope - cylindrical handle with grooved wooden section attached. Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

These boots belonged to Captain Charlie Rogers of the Australian Army who wore these and ceremonial regalia when he was part of the Guard of Honour during the visit of the Duke of Gloucester in 1934. The visit was part of Victoria’s centenary celebrations and the Duke officially opened the Melbourne Shrine of Remembrance. Rogers was a well-known Warrnambool identity in the 1930s, 40s and 50s as a horseman and an Army identity. He built a house in Birdwood Avenue, Warrnambool, in 1935 and was a long-serving Warrnambool Show official as a judge of equine events. Rogers died in 1961. These items are of great interest as examples of the boots worn by Army Lighthorse personnel in the 1930s. The mechanism for keeping the boots in good condition is of some technological interest. They are also of interest because they belonged to a well-known 20th century Warrnambool person. These are two knee-high brown leather boots with brown laces. The boots are slightly scuffed. Inside the boots are two pieces of red-striped canvas. The boots have wooden inserts to support the boots in storage. These wooden inserts, all varnished, are in four pieces - a solid foot shape to fit in the foot of the boots, two pieces shaped to fit the calf of the leg padded with green felt, one with slight indents at the top and the bottom and the other with a decided groove and the centre piece that has a hole cut out to fit the shape of the other two. This last piece has a wooden handle with a metal attachment. There is only one handle as it can be screwed out and fitted to either wooden insert. On the two wooden inserts ‘R ‘ for right and ‘L’ for left, marked twice on each insert.charles rogers, duke of gloucester, warrnambool

Large 75cm tall plastic doll with curly blonde hair. Her eyes close when she is laid on her back. She is dressed in a cream muslin dress with vertical inserts of white braid. It is also trimmed with wide cream cotton lace on the bodice and hem and burgundy insert on the bodice. A burgundy sash is around her waist. Underneath the dress is a cream cotton pintucked petticoat trimmed with various cream laces and cream cotton bloomers trimmed with cotton lace and white satin bows. She is wearing black socks and brown canvas shoes with plastic soles. There is also a cream muslin bonnet, heavily trimmed to match her dress with a burgundy bow and a white muslin bow.toys, dolls, plastic

The item is a hard cover book recording weekly work of T.J. Connolly, Ironmongers, Sandhurst. Each handwritten page is dated at the top and records the customer surname and price of goods. The total for the week is recorded at the end of the entries. Some entries include a description of the goods or equipment. Each page is signed and or checked off in red pencil or pen near the total. The hard cardboard cover has a worn blue material cover. The spine of the book is leather, with a canvas binding under the leather. The inside front and back pages are purple with a green and red marbling pattern. The book is full and includes the date range of 02 January 1885 to 24 December 1891. This item is part of the Margaret Roberts Collection.margaret roberts collection, ironmongers, forest street, bendigo businesses

Khaki Canvas Bag designed for First Aid Kit. Contains 25 items including 2 x tweezers, 1 x eye bath, 1 x metal syringe, 1 x bottle gauze strip, 1 x snaake bite kit, 1 x pocahontas inhaler, 1 x water sterilizing kit, 1 x cat gut in glass tube, 1 x blade in container, 1 x splint set, 1 x first field dressing 1939 Smith and Nephew, 4 x large field dressingss, 2 x splint holders ?, 1 x First Aid book, 1 x Sanax First Aid card.Receipt from Red Cross Victorian Division South Melbourne Branch dated 14th April 1942.

This bracket was recovered from the wreck of the Newfield. The barque Newfield left Liverpool on 1st June 1892 with a cargo of 1850 tons of fine rock salt for Brisbane. About six weeks later the ship ran into very heavy weather approaching the Australian coast. On 28th August at about 9pm her master, Captain George Scott, observed between the heavy squalls the Cape Otway light on the mainland of Victoria, but due apparently to a navigational error (the chronometers were incorrect), he mistook it for Cape Wickham on King Island, some 40 miles south. He altered course to the north expecting to run through the western entrance of Bass Strait, but instead, at about 1:30am, the ship ran aground about about 100 yards from shore, one mile east of Curdies River. The vessel struck heavily three times before grounding on an inner shoal with six feet of water in the holds. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. Seventeen men survived the shipwreck but the captain and eight of his crew perishedFlagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck.‘L’ bracket, copper, 3 holes on one side, 2 holes on the other1893, shipwrecks, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, newfield, 1892, 28 august 1892, port campbell, nineteenth century, victorian shipwrecks, barque, norma bracken, peterborough, 29 august 1892, peter ronald, curdies river, bracket

This porthole frame was recovered from the wreck of the Newfield. The barque Newfield left Liverpool on 1st June 1892 with a cargo of 1850 tons of fine rock salt for Brisbane. About six weeks later the ship ran into very heavy weather approaching the Australian coast. On 28th August at about 9pm her master, Captain George Scott, observed between the heavy squalls the Cape Otway light on the mainland of Victoria, but due apparently to a navigational error (the chronometers were incorrect), he mistook it for Cape Wickham on King Island, some 40 miles south. He altered course to the north expecting to run through the western entrance of Bass Strait, but instead, at about 1:30am, the ship ran aground about about 100 yards from shore, one mile east of Curdies River. The vessel struck heavily three times before grounding on an inner shoal with six feet of water in the holds. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. Seventeen men survived the shipwreck but the captain and eight of his crew perished.Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck.A porthole frame from the wreck of the Newfield. The porthole and glass are missing. It is encrusted, cracked and eroded. There are 8 retaining bolt holes with the remnants of 7 bolts remaining. On the inside are the remains of the hinge flange and the two release screws. Restored, good condition.warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, 1892, 1893, 28 august 1892, 29 august 1892, barque, curdie's river, newfield, nineteenth century, peter ronald, peterborough, port campbell, porthole, porthole frame, shipwrecks, victorian shipwrecks

This small porthole was recovered from the wreck of the Newfield. The barque Newfield left Liverpool on 1st June 1892 with a cargo of 1850 tons of fine rock salt for Brisbane. About six weeks later the ship ran into very heavy weather approaching the Australian coast. On 28th August at about 9pm her master, Captain George Scott, observed between the heavy squalls the Cape Otway light on the mainland of Victoria, but due apparently to a navigational error (the chronometers were incorrect), he mistook it for Cape Wickham on King Island, some 40 miles south. He altered course to the north expecting to run through the western entrance of Bass Strait, but instead, at about 1:30am, the ship ran aground about about 100 yards from shore, one mile east of Curdies River. The vessel struck heavily three times before grounding on an inner shoal with six feet of water in the holds. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. Seventeen men survived the shipwreck but the captain and eight of his crew perished.Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreckSmall porthole frame (inner), from the wreck of the Newfield. Glass missing, brass with 2 screw dogs lugs and one hinge. Restored, good condition.warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, 1892, 1893, 28 august 1892, 29 august 1892, barque, curdie's river, newfield, nineteenth century, peter ronald, peterborough, port campbell, porthole, shipwrecks, victorian shipwrecks