Special Carte-de-Visite produced by W. Burman, July 3,1878 featuring the sole surviving passenger of the wreck of the ship, Loch Ard near Mutton Bird Island on the Shipwreck Coast of Victoria on June 1st, 1878. THE PHOTOGRAPHIC SOCIETY. (1878, October 12). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved December 4, 2022, from http://nla.gov.au/nla.news-article199353573 According to Sands & McDougall Melbourne Directory, Burman's were operating from 209 Bourke St. East and St George's Hall (73 Bourke St. East) from 1879-1885 Back of photo is overtsamped "Registered Copyright by W. Burman, July 3rd 1878" CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, 1878, 1878-1885, burman's photographer 209 bourke st east and st georges hall melbourne, shillinglaw family photo album 2, eva carmichael, loch ard (ship)

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

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. From Victorian Heritage Database citation for HO59 Glenmoore, 1 St Georges Road Elsternwick https://vhd.heritagecouncil.vic.gov.au/places/35202 as at 30/10/2020 "Glenmoore" is locally significant as a surviving mid nineteenth century villa residence in the then fashionable bi-chromatic brick form. It is also important as the home of Hugh Moore who built several shops in nearby Glen Huntly Road and which remain as important contributors to the architectural character of the Elsternwick Shopping Centre.Victorian Heritage Database citation HO59 Glenmoore, 1 St Georges Road Elsternwick https://vhd.heritagecouncil.vic.gov.au/places/35202 An imposing two storeyed villa in bichrome brick with two storeyed timber posted verandah, coupled with cast iron lace frieze, spandrels and central tympanum enrichment. The hipped roof is in slate and has a prominent crean1 brick chimney stack forming part of the facade. Openings are flat arched although the entrance is round arched with a fan light. The south elevation has bayed windows. Two storeyed hip roofed additions are sympathetic and attached on the north side and at the rear. Inside, the staircase and stained glasswork with initials "HM" and family coat of arms are important surviving elements. INTEGRITY: Good, timber outbuildings of an early date, mature and spacious front garden includes early palm trees. Alterations include reconstruction of facade verandah including tiled pavement and front door on east side. Interior has a high level of integrity. Original grounds included adjoining "Carramar".Page 178 of Photograph Album with three photographs of Glenmoore, St Georges Road. Handwritten: "Glenmoore" 1 St George's Road [top right] / 178 [bottom right]trevor hart, chimneys, porch, mansion, slate roof, return verandah, stained glass, cast iron frieze, glenmoore, 1860's, hugh moore, glenmoore estate, double storey, elsternwick shops, st george's road, thomas watts, elsternwick, victorian style, protruding bay windows, cast iron work, bi-chromatic bricks, gardens, balconies, moore's buildings, glen huntly road, stairs, house names

A menu card for a dinner given to farewell Group Captain Thomas W White, D.F.C., V.D given by his friends on the occasion of his appointment as High Commissioner for Australia in the United Kingdom. Although this dinner on 25 June 1951 was not an official Legacy function, many of the names such as S.H. Birrell, F.J. Doolan and J.G. Gillespie on the back page under the heading 'Hosts' are recognisable as Legatees. This may not have been an exhaustive list of attendees, as evidenced by the abbreviation E.& O.E. (errors and omissions excepted) following the list. T W White was knighted during his term as High Commissioner, but died of a heart attack in 1957 only a year after he retired to South Yarra. The food served at the dinner was typical of the times but the pudding (Bombe Nesselrode) is worthy of mention - it was a frozen pudding which was popular in the Victorian era, flavoured with chestnuts and maraschino, which is not often seen today. According to www.historicfood.com it was 'originally made by the French chef de cuisine Carême in 1814 for the diplomat Count Karl Von Nesselrode and became the most popular ice pudding of the nineteenth century, particularly appreciated by the English upper classes.' The menu card may have been collected by one of the Legatees that were present and added to the archive.A record that Legatees held very significant positions in their lives outside of Legacy. Networking activities of early Legatees spread through all levels of society, and they were able to draw on some very well placed contacts during the course of their work for Legacy.Dark blue print on white card of a menu and order of proceedings for the farewell dinner of TW White - 2 copiesfunction, thomas white

Moran and Cato was the largest chain of grocery stores in Australia in the late nineteenth and early twentieth century The partnership was established in Melbourne between cousins Thomas E Moran & Frederick John Cato in 1881Glass bottle squareMoran & Cato Pty.Ltdbottles

Photographer: A.W. Burman, Artist Photographer, 209 Bourke Street East, Melbourne According to Sands & McDougall Melbourne Directory, Arthur W. Burman was active 209 Bourke St East, Melbourne from 1878 to circa 1885-1890 Sarah’s hairstyle is late 1870s/early 1880s . The children could possibly be Sarah Ann Shillinglaw (1873-1878) and Caroline Shillinglaw (1876-1956) which would date the photo early 1878 or Caroline Shillinglaw (1876-1956) and William Shillinglaw (1877-1891) which would date the photo early 1879 as Sarah was pregnant with Elizabeth Ann Shillinglaw who was born Aug 1879.. Daughter Jane Shillinglaw (1876-1876) had died prior to the date of this image. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 19911878-1885, 1879, a.w. burman photographer 209 bourke st east, marg ball collection, phillip shillinglaw (1842-1914), sarah ann shillinglaw (1873-1878), sarah ann shillinglaw (nee kidd) (1850-1891), shillinglaw family photo album 1

Florence May Aldous was born 1883, her sister Elizabeth Annie was born 1 Nov. 1885 A duplicate image is contained in Album 2 (05664) Aldous family assumption was that the child was Elizabeth Annie. However upon further investigation with the original source of information written on back of a duplicate photo has confirmed in Annies hand it says “my mother and father”. Given that photo was handed down Elizabeth Annie's line, it is a reasonable presumption to have thought the child was Elizabeth Annie however it begs to question why her elder sister by two years is not in the photo. Hence it is thought the child is more likely to be Florence May. c.1885 Stewart & Co Photographers operated from various addresses in Bourke Street, Melbourne from 1871 through 1910. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1884-1887, charles aldous, elizabeth annie aldous, florence may aldous, sarah aldous (nee shillinglaw 1854-1925), stewart & co photographers bourke st east melbourne, 1871-1910, 1885

In this image the woman appears wearing a thick wedding band on her left hand. She has a similar resemblance to Sarah Ann Shillinglaw (nee Kidd) and could possibly be a sister. The only sister that the timeline would fit would be Caroline Fairlie Kidd who married Alexander Kirk Stewart 7 Apr 1885 at Richmond, Victoria. The family then lived at Diamond Creek. Johnstone O'Shannessy & Co Photographers operated from 3 Bourke Street from approximately 1865 through 1885. By 1890 they had relocated to 234 Collins Street.The dress is less tailor made and form fitted which appeared from the mid 1880s suggesting this image is circa 1880-1885. There are two other copies of this image in Album 1 (05663) and three in Album 2 (05664) CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991a.w. burman photographer 209 bourke st east, marg ball collection, shillinglaw family photo album 1, 1865-1886, 1885, caroline fairlie stewart (nee kidd), johnstone o'shannessy & co photographers 3 bourke st melbourne, unknown

Believed to be L-R: Arthur Samuel (1878-1907), Agnes Shillinglaw (nee McIntosh 1852-1931) with Agnes Mary (1881-1968), Samuel Shillinglaw (1848-1925). At the time of the birth of Arthur Samuel in 1878, Samuel was resident at Benalla, Victoria. Subsequent to this photo, Samuel and Agnes had three further daughters, Barbara Ethel (1884-1898), Lilian Muriel (1887-1939) and Elsie Gladys (1890-1891) Margaret Ball's 2018 book, Shillinglaw Family of Eltham 1660-2007 suggests (page 79) that Arthur Samuel later changed his name to Arthur Ernest to avoid the initials ASS Another copy of same photo in Album 2 is Inscribed on reverse:"For Grandma from Sam" No photographer details CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1882, agnes mary shillinglaw 1881-1968, agnes shillinglaw (nee mcintosh), arthur ernest shillinglaw, arthur samuel shillinglaw, benalla, house, samuel shillinglaw (1848-1925)

Sarah Shillinglaw was born at River Plenty on November 9, 1854. She married Charles Aldous on June 9, 1880 and died in Prahran, Victoria on August 3, 1925. Davies & Co (William Davies) operated from: 7 Bourke Street East 1867-1869 55 Bourke Street East 1874-1877 55 Bourke Street East as Central Photogrphic Studio (E. Sands Mgr) 1878-1884 73 Bourke Street East 1877 91 Bourke Street East 1864-1868 94 Bourke Street East 1864-1877 98 Bourke Street East 1860-1861 19 Collins Street East 1865-1868 5 Collins Street West 1866-1870 CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, 1867-1869, 1869, davies & co post office photographic studio 7 bourke st east melbourne, paletot jacket, post office photographic studio, sarah aldous (nee shillinglaw 1854-1925), shillinglaw family photo album 2, unknown

The original ship was built in Glasgow in 1899 by Fairfield Shipbuilding and Engineering Co for the Orient Line. It was the largest Orient Line passenger ship completed in the nineteenth century and was the third vessel of the Line to bear the famous “O” prefix, which was traditional through to the last ship, the mighty 'Oriana'. Her dimensions were 8,130 gross tons, length 490.6ft x beam 56.6ft (149.50 x 17.22m). She had one funnel, two masts, twin screw and a speed of 18½ knots. Her maiden voyage from London, via Suez, to Melbourne and Sydney commenced on 3rd February 1899. She was the largest British flag ship sailing to Australia at the time and continued to regularly sail between London, Melbourne and Sydney throughout her life. She last sailed as a passenger ship between Melbourne and Sydney on the 3rd November 1916. During World War I, she was converted to a troopship and was used to transport soldiers and assist with military operations. She was torpedoed and sunk by German submarine UB-52, 40 nautical miles (74km) off the coast of Sardinia in the 12 May 1918. She was on her return journey from Alexandria to Marseilles with six other transports, carrying troops of the 52nd and 74th divisions when she was lost, resulting in one casualty. Her maiden voyage brought her to Melbourne in 1899. The ship carried the first Australian troops from Brisbane to WWI in September 1914.A large ship builder's model of the 'SS Omrah' an Orient Line one funnel passenger steamer of 1899. The model is displayed in a large glass and polished timber case on legs.2 Plaques at foot of model: "MODEL/ OF TWIN SCREW STEAMER/ "OMRAH"/ BUILT FOR/ ORIENT STEAM NAVIGATION CO LTD/ BY/ THE FAIRFIELD SHIPBUILDING & engineering CO LTD/ DIMENSIONS/ 507-0X56-9X37-6MLD/ GROSS TONNAGE 8291 TONS SPEED 18 1/2 KNOTS on boat: "OMRAH"

This portable, hand held visual signaling lamp, with trigger mechanism and inner reflective disk, was used for optical communication via Morse code, with the concave mirror tilted to focus the light into pulse signals. Larger versions of these lamps are fixed on ships or pedestals and have shutters in front of the light that are opened and closed to transmit signals. Smaller hand held versions like the Cape Nelson example have a concave mirror that is tilted to focus the light into pulse signals, and despite their size the lamps were renowned for their brilliant light. Invented by Arthur C W Aldis (1878‐1953) and pioneered by the British navy in the late nineteenth century, they continue to be used to the present day. Details on the Cape Nelson lamp include a serial number, a date of 1960 and the initials of the Department of Transport, which at that time incorporated the Commonwealth Lighthouse Service. Another lamp of the same date which is held at Wilsons Promontory was provided to the lighthouse by the Department of Shipping for signaling ships but was also used for communicating with Cliffy Island, 18 nautical miles away. Point Hicks also has an Aldis lamp and an associated case, which is painted an army green colour. A fourth lamp and case formerly at Cape Schanck disappeared from the collection sometime between 1995 and 2003. These types of lamps are not rare in museum collections.These types of lamps are not rare in museum collections however the Cape Nelson example has a reliable provenance to the lightstation and has first level contributory significance as a fine example of the Aldis lamps that were distributed to lightstations throughout Victoria and Australia.This object is comprised of a black metal encased Aldis lamp with electrical cord and associated wooden carrying case with metal clasp and red leather hand grip. yes

"The dry stone walls provide a tangible link to the area’s white settlement, and they remain a symbol of the profound change in land usage from the original Kulin custodians to the European arrivals of the nineteenth century. The bulk of dry stone wall construction in Victoria occurred between the 1850s and 1880s. The gold rush of the early 1850s in particular inspired a flurry of construction. At this time, labour previously available for shepherding livestock dried up, as men gravitated to the goldfields to seek their fortunes. This necessitated the building of fencing to contain the district’s growing number of sheep, cattle and horses. An explosion in surveying, subdivision and the sale of Crown lands also contributed to a boost in construction. Government regulations that punished pastoralists for allowing their livestock to stray provided further incentive to fence-off previously open expanses of land. The major benefit of this type of fencing was that it utilised the materials at hand; the plentiful grey basalt that scattered the landscape. In the case of the dry stone walls built around Melton, the characteristic round or oval shape of the volcanic fieldstones on the western plains inspired some distinctive designs.54 Another advantage of dry stone walls was their ability to withstand the ravages of flood, fire and drought often experienced in the district. This durability accounts for the fact that many of these fences still exist today". Dry Stone Wall trail brochure/pamphlet for visitors provided by Melton Visitor Information Centrecouncil, landscapes of significance

This device was used to measure surface wind speed and direction. This anemometer was located on a concrete pad outside room 2.15 on a steel pole. The pole was considered unsafe and the anemometer was relocated to it's current position. When lowering the pole it fell over and was badly damaged. The Bureau of Meteorology donated it to the museum. It was then repaired and restored. The central pole on which it is mounted is galvanised iron pipe painted black. The anemometer, a portable device that manually measures wind speed, was a necessary instrument once common to all weather stations. The arms are attached to a vertical rod and as the wind blows, the cups rotate, making the rod spin. The stronger the wind blows, the faster the rod spins. The anemometer counts the number of rotations, or turns, which is used to calculate wind speed, surface wind and direction. They were designed to be durable to withstand the corrosive environment and strong winds expected at coastal sites such as those at Gabo Island. Anemometers existed in the nineteenth century and their design was improved by various experts including John Robinson in 1846, John Patterson in 1926, Brevoort and Joiner in 1935 and Derek Watson in 1991 who added wind direction measurement to its functions. This example was made for the Bureau of Meteorology by the Melbourne instrument company, Synchrotac, which became registered and incorporated on 26 July 1966. It is now displayed inside the building. A good example of its kind, the anemometer has first level contributory significance for its historic value and provenance to the lightstation.Anemometer and tripod stand. Three cupped brass discs on rotating arms fixed to turned brass cylinder shaped shaft. Beneath discs is a lead directional wind arrow attached to a rotating arm. A wooden three legged stand with central supporting pole of black painted hardwood and attached to a white painted marine ply circular base.Under wind cups: " SYNCHROTAC / MELB. / ser.no.70/372 / MADE IN AUSTRALIA." Above wind direction arrow: "C.OF.APT..../ SYNCHROTAC / MELB ? MADE IN AUSTRALIA / ser.no.70/372"

The 41 alphabetic and numeric visual signalling flags (including substitute and answering pennants) have either square or pointed ends. They are made of bunting, a coarse fabric of worsted (open yarn wool) in various colour combinations. Some of the flags are marked with inscriptions, for example “B”. Attachments to the flags include hemp rope and metal clips. Each flag has its own galvanised canister and lid, each of which is painted grey and marked with a letter, number or word. The flags were used for communicating messages to passing ships. Knowledge of visual signalling was mandatory for all lightkeepers and all lightstations maintained a set of flags. Although used for centuries, visual flag signalling formally developed in the nineteenth century and was published internationally as a system in 1857. By the early twentieth century it had developed into an effective means of conveying all kinds of short range visual messages. The signal flags and canisters at Gabo Island form a complete set and are not historically linked to the lightstation and their provenance is unknown. It is known however that they originate from a lightstation in Victoria and for some years were on loan from AMSA to the Queenscliff Maritime Museum, where they were held in storage and not displayed. Three of the six lightstations that Parks Victoria manages have sets of signal flags in their collections. Forty navigational signal alphabet flags & numeral pennants. Flags are made of wool.

The 41 alphabetic and numeric visual signalling flags (including substitute and answering pennants) have either square or pointed ends. They are made of bunting, a coarse fabric of worsted (open yarn wool) in various colour combinations. Some of the flags are marked with inscriptions, for example “B”. Attachments to the flags include hemp rope and metal clips. Each flag has its own galvanised canister and lid, each of which is painted grey and marked with a letter, number or word. The flags were used for communicating messages to passing ships. Knowledge of visual signalling was mandatory for all lightkeepers and all lightstations maintained a set of flags. Although used for centuries, visual flag signalling formally developed in the nineteenth century and was published internationally as a system in 1857. By the early twentieth century it had developed into an effective means of conveying all kinds of short range visual messages. The signal flags and canisters at Gabo Island form a complete set and are not historically linked to the lightstation and their provenance is unknown. It is known however that they originate from a lightstation in Victoria and for some years were on loan from AMSA to the Queenscliff Maritime Museum, where they were held in storage and not displayed. In three of the six lightstations that Parks Victoria manages have sets of signal flags in their collections. Forty-one galvanised canisters with separate lids. The canisters are painted a grey/white colour and have either numbers, letters or words painted on the lid and on the cannister in black paint. There are variations in the style of canister and in the style of the inscriptions.

From Neurological Society of Australia. Wooden case with key. Contents (12 parts) include trephines, various sizes; perforator; key; ebony trephine handle; Hey skull saw; elevator; steel forceps; brush; lenticular; five pointed rugine. 18th or early 19th century.TREPHINE & SKULL SAW IN CASE OF SURGICAL INSTRUMENTS: EIGHTEENTH OR EARLY NINETEENTH CENTURY. This set of surgical instruments contains, in a wooden case covered with shagreen: two trephines and a perforator , with a key to remove the trephine centring pins a detachable ebony handle a Hey skull saw with the name BLACKWELL an elevator a pair of steel forceps a bone or ivory brush to clean the trephines a lenticular a 5-pointed rugine. The trephines are conical, with slight tapering to prevent over- penetration; they are approximately 17 and 20 mm in diameter. Each has a sharp centring point, which 5 can be removed. Hand trephines are operated with one hand, being rotated like a gimlet, by alternating pronation and supination of the forearm, which also exe1ts downward pressure. The skull saw was used where trephining was difficult, as in some depressed fractures; it was popularised by William Hey (1736-1819) of Leeds, though described by earlier writers. Hey, a Yorkshireman, studied in St George's Hospital, London, but worked with great distinction in the Leeds General Infirmary. The lenticular, a curious instrument seen in many eighteenth century illustrations, was used to smooth the margins of bone defects. The rugine could be used to scrape granulations. The design of the trephines and of most of the other instruments strongly suggests an English origin, probably in the eighteenth century. A very similar trephine is figured by the London surgeon Percivall Pott2 in 1779. Bennion l [ists three instrument makers named Blackwell, none earlier than 1817. Most of the instruments have been plated, presumably with nickel, at a date that must be much later. The nickel plating shows little sign of wear.

Image of a Charles Conder painting on front of soft covered book titled The Artists' Camps: Plein Air Painting In Melbourne 1885-1898. FOREWORD by Margaret Plant - Department of Visual Arts, Monash University. The paintings of the 'Heidelberg school" are the best loved group of works in Australian art. The affection is linked in the national mind with a recognition that the authentic Australian landscape had been discovered and colonial bonds broken. The painting activity of the 1880s and 1890s was by no means confined to Heidelberg. Helen Topliss painstakingly presents the variety of sites around Melbourne, in the bush and on the coast, reconstructing their original character and the history of their accessibility. The major figures are well known — Roberts, McCubbin, Streeton and Conder — but there were a number of 'minor' artists associated with the various painting spots that have been too long neglected. A research programme is here initiated in the hope that some of these figures might be more fully returned to us. The restoration of the sites provokes a more extensive roll-call of artists involved in the plein air phenomenon. Various expressions of nationalism in the late nineteenth century have been accorded attention: the painters contributed in varying degrees. But it is, finally, the quality of the painting, the freshness, the particularity of nuance, the calculated aesthetic angles that have governed response and inspired affection. The elegant relaxation themes of many of the paintings have in fact been overlooked in the intellectualization of the quest for 'national identity'. The orchards and the beaches, the ladies promenading a la mode on the beach at Mentone or in the grasses of Box Hill are as important to our artistic tradition and social history as the shearers of rams.

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Hand-beaded evening purse, with silver frame and finger ring. While the note accompanying the item states that it was made and used in the 1880s, the label 'Made in France' would indicate that it was probably made in the first decade of the twentieth century.Label: "Made in France / Hand-made". A note which accompanies the item states: "Hand beaded evening purse, 1880s. Frequently used when formal dinner dances were held in the Kew mansions." [Editor - See correct date in Physical description]fashion accessories, clothing accessories, women's clothing -- accessories, bags -- handbags, bags -- purses

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Hand-made crocheted or lace reticule with a long cord and a flap opening. The bag is lined with cream voile. It relies on different kinds of stitching for its decorative effects as well as rosettes and round pom-poms.fashion accessories, clothing accessories, women's clothing -- accessories, bags -- handbags, bags -- reticules, bags -- purses

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Woven, lidded raffia straw reticule with dried raffia lowers used as decoration.women's clothing -- accessories, bags -- handbags, bags -- reticules, bags -- purses, fashion accessories

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of women's fashion accessories, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Black silk embroidered with flowers compact with and internal mirrorfashion accessories, personal accessories

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Machine woven tapestry evening bag on metal frameevening bags, women's clothing -- accessories, bags -- handbags, bags -- reticules, bags -- purses, fashion accessories

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products.An earlier inventory of the collection identified an Eighteenth century French evening bag. While the frame shows some affinities with models of that period, its dating has provisionally been made to the Nineteenth century, until expert advice is sourced.Densely beaded evening bag on a gilded metal frame. The beads are woven in a a variety of abstract and geometric patters, including a cross within an octagon at centre. The bag is held by a white metal chain.evening bags, women's clothing -- accessories, bags -- handbags, bags -- purses, fashion accessories

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of fashion accessories, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Black velvet belt with metal and bakelite clasp, 1930sfashion accessories, clothing accessories, belts

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of women's fashion accessories, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Black paper, wood and metal cockade fanfashion accessories, fans, cockade fans

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of women's fashion accessories, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. White paper, wood and metal cockade fanfashion accessories, fans, cockade fans

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of women's fashion accessories, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Woman's bone and white paper fan with metal finger ringfashion and textiles collection, fashion accessories, fans, concertina fans, finger rings

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of women's fashion accessories, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Black and white pierced Brisé fan with ebonised wood frame held by a metal ring.fashion accessories, fans, brisé fans

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of women's fashion accessories, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products.Pleated fan. Japanese. Ebonised wood frame with hand-painted decoration of ipomoea flowers, grass and silver using typical Japanese decorative techniques. fashion accessories, fans, concertina fans, japanese fans