The banana bottle is often referred to as the hygienic bottle, and is aptly named. It was the saviour of many hand reared babies in early 20th C. It's ease of cleaning was a major breakthrough in nursery hygiene. The basic design was around for about 50 years. It first made its appearance around the mid 1880's. The first true banana feeder with a teat and valve was invented in 1894 by Allen and Hanbury's. In the next 15 years the model was modified over a series of four slightly different models. In 1910 the final design, The Allenbury Feeder was to remain unchanged for the next 50 years.A clear glass Felgrim Banana bottle (valve and teat) for feeding babies by hand. The brand is stamped in large ornate lettering inside an oval shape on the wide front of the bottle. It has two open ends for attaching teats. 8oz measurements are marked on one side and 16 tablespoons on the other. 'Felgrim' brand and 'Made in England Free from arsenic and lead'baby bottles, baby equipment, babies, domestic objects

This image shows the urbanisation of a formerly rural area of Moorabbin.Black and white photograph looking west along South Road. There is a truck in the foreground, travelling along the sealed South Road. A car is waiting to exit from Rowan Road. People are walking along the left hand side of the road, and a young person a bike is riding along the right side. They are all going in the same direction as the traffic. The left hand side of the image shows paddocks in the foreground, which houses further back. The right hand side of the image shows suburban houses with electricity poles running the length of the road. Handwritten in blue ink on reverse: 57-523A Handwritten in red ink on reverse: 85% Handwritten in black ink or grey lead: Ch. 6moorabbin, cars, roads, housing

Photos of a procession of widows and legatees to the Shrine in 1985 also of the church service in St Paul's before hand. The Legacy President Bannister is behind Legatee Geoff Swan holding the Legacy flag. The University of Melbourne choir is shown behind the Dean of St Paul's. The Melbourne Legacy Widow's Club president, Mrs Alma Sumner, spoke and also laid a wreath at the Shrine. One photo is of Pilgrimage Marshall Legatee Frank Burton. The pilgrimage was lead by a bag piper, Ian McKenzie and Standard bearer from Legacy Leadership Group (an older junior Legatee). Inside the Shrine the Shrine Trustee, Sir Alfred Kemsley stands with President Bannister and Widow President Mrs Alma Sumner and Legatees Conor MacGillycuddy and Alf Argent. Sometimes referred to as Widows' Sunday it is an annual event for Legacy widows, usually at the start of Legacy Week, which is the first week in September. The church used for the service varies. These photos were in an album of photos from 1993. The album was not archive quality, with self adhesive pages, so photos have been transferred and album discarded.A record of the Widows' Sunday events for the Legacy Week in 1985.Colour photo album x 10 leaves of self adhesive cardboard with 17 photos of a pilgrimage to the Shrine in 1985.Caption on title page; 'A photographic record of events of Commemoration. From Sunday, 1st September - First day of Legacy Week, 1985. Commencing with the Morning Service at St. Paul's Cathedral, and then onto the Pilgrimage to the Shrine.'pilgrimage, wreath laying ceremony, widows' sunday

Photos of a procession of widows and legatees to the Shrine in 1985 also of the church service in St Paul's before hand. The Legacy President Bannister is behind Legatee Geoff Swan holding the Legacy flag. The University of Melbourne choir is shown behind the Dean of St Paul's. The Melbourne Legacy Widow's Club president, Mrs Alma Sumner, spoke and also laid a wreath at the Shrine. One photo is of Pilgrimage Marshall Legatee Frank Burton. The pilgrimage was lead by a bag piper, Ian McKenzie and Standard bearer from Legacy Leadership Group (an older junior Legatee). Inside the Shrine the Shrine Trustee, Sir Alfred Kemsley stands with President Bannister and Widow President Mrs Alma Sumner and Legatees Conor MacGillycuddy and Alf Argent. Sometimes referred to as Widows' Sunday it is an annual event for Legacy widows, usually at the start of Legacy Week, which is the first week in September. The church used for the service varies. These photos were in an album of photos from 1993. The album was not archive quality, with self adhesive pages, so photos have been transferred and album discarded.A record of the Widows' Sunday events for Legacy Week in 1985.Colour photo x 14 of a pilgrimage to the Shrine in 1985 and white paper labels.Title page is paper with black type, 'A photographic record of events of Commemoration. From Sunday 1st September - First day of Legacy Week, 1985. / Commencing with the Morning Service at St. Paul's Cathedral, and then onto the Pilgrimage to the Shrine.'pilgrimage, wreath laying ceremony, widows, widows' sunday, colin bannister, alf argent

A special luncheon was held for World War 1 widows as a lead up to "Legacy Week". Legatees dressed up as moustached waiters to add a bit of humour to the day. Due to its success it was held for a number of years. In 1994 the author Patsy Adam-Smith was a personality of the year helping to promote Legacy. She attended the lunch and in one photo is with Legatee Eddie Jowett and widow Mollie Thiele (red jacket). Legatee Eddie Jowett led the Legatees in singing to the widows. There was also a pianist and a female singer attending. Two legatees reading a song sheet are George Standish and Maurie Lockwood. Legatee Lucky Luscombe can be seen in a false moustache posing for the camera. Also a photo of the hard work being done in the kitchen. Audrey the kitchen lady is obscured at far right. It appears to be Joan Miller with her back to the camera, and Sue Sargent (a widow who helped a lot in the kitchens) is on the right hand side. Other ladies names in the photos are not known. The following year more Legatees followed Lucky's lead and wore false moustaches to provide entertainment. The WWI group would meet on the 2nd Thursday of each month at 11 at Legacy House for many years until their numbers dwindled.A record of the type of activities Legacy provided as a social outlet for the widows.Colour photo x 12 of a World War 1 widows lunch.widows, function

These cartoons depict a crisp, witty and humuorus account of the lead up and beginning of World War 2. The cartoons were drawn by " "Mick" Harold Barry Armstrong , a leading world cartoonist of the day. The publication was made by popular public request and sold for two shillings a copy. It has been kept by a Legatee as a souvenir and found its way into the archives.In 1939 Legacy was discussing the future of Legacy due to ageing Legatees and declining numbers of widows and families to assist. Little did they realise what was about to unfold.Book of war cartoons published in the Argus newspaper compiled as Havoc.Caricature of Adolf Hitler in bottom left hand corner. Many pen and ink drawings, cartoons of Adolf Hitler, and other Axis leaders, politics, August- December 1939.world war two, souvenir

Initially listed as T J Connelly's Tin shop, this premises on the corner of High and Forest Street, expanded to include all items of ironmongery. By 1878 they were advertising gas stoves for sale and installation.The item is alphabetical customer list of T.J. Connolly, Ironmongers, Sandhurst. Each handwritten page lists the customer name and order number. Note: corresponding orders are not in this book. The book does not have a date reference in it. The book has a flexible cardboard cover and the pages are bound together with string. This item is part of the Margaret Roberts Collection.There is a black mark at the bottom right-hand side of the front cover. There are some grey lead notes on the inside front cover. There are two mirrored ink marks on the back inside cover and last page.margaret roberts collection, ironmongers, forest street, bendigo businesses

This map shows geological features, suggests the last basalt flow, and includes alotments and names of Mining Companies. Although this map has no date on it the Ballarat Industrial School is used for dating purposed. The Ballarat Industrial School ran from 1869-1879, but the term Ballarat Industrial School Reserve was still in use in 1898 and possibly beyond.Geological Map of Ballarat with 3 holes in the left hand side. The map indicates the position of Lake Wendouree, Township of Warrenheip, Ballarat East, Industrial School Reserve, Winters Swamp, Police Paddock, Wyndholm Premptive Right (Salton and Waldie), Black Hill, Vale Park Reserve, Pennyweight Hill, Little Bendigo, Black Swamp Lead, monte Christo Reef, Chinaman's Gully, Miners Rest, Pincotts Dam, Northumberland Gully. It also show the following goldmining companies: City of Ballarat, Kohinor, Hand and Band, Great North West, Northern Junction, Kneeshaw, Rossers Freehold, Silurial.ballarat, warrenheip, lake wendouree, ballarat east, winters swamp, winter swamp, wyndholm premptive right, cemetery, vale park reserve, little bendigo, kneeshaw co., industrial school reserve, kirks dam, pincotts dam, black hill, wombat hill, dead horse gully, miners rest, mt rowan, salton and waldie, rose hill co, great north west no 1, rose's freehold co, hand and band co, police reserve, police paddock, mount rowan, ballarat industrial school reserve, market reserve, winter's swamp, kneeshar co, monte cristo line of reef, chinaman's gully or black snake, milkmaid's gully, ballarat gold field, bakery hil lead, old gravel pits lead, golden point lead, eureka lead, miner's rest, yarrowee creek, leigh creek, black swamp lead, yorkshire reef, nil desperandum reef, cockatoo lead, hit or miss gully, herbert werner frederick de nully, pennyweight hill, esmond's lead, ash's lead, nightingale lead, john bull gully, gladstone reef, whitehorse reef, petticoat creek, pincott's dam, frenchman's gully, tim's crushing plant, jenkin's gully, california gully, drake's creek, sulton and waldie, ballarat undustrial school, ballarat & mariborough railway

This honour board is thought to have been made to a design by a student of the Ballarat Technical Art School, a division of the Ballarat School of Mines. "Honor Boards. — During the past few months very many honor boards have been manufactured by Messrs R. Tunbridge and Sons, and their handsome design and workmanship have given complete satisfaction to purchasers. Some time ago, the firm gave five guineas, for prizes to the architectural class at the School of Mines for the best honor board designs, and some magnificent suggestions were submitted by the competitors. Messrs Tunbridge and Sons, in adopting this plan, gave encouragement to the students to develop along the lines of originality in architecture, and at the same time secure a very fine collection of designs. The whole of the honor boards turned out by the firm are of local manufacture and only the very choicest of Australian timbers are used. As Tunbridge and Sons have made the manufacture of honor boards a speciality they are employing a couple of first-class cabinetmakers on the work of making honor hoards only, and the lettering is also done by a local firm. An honor board which has just been completed by Tunbridge and Sons is at present on view in the firm's window facing Sturt street. It is for Holy Trinity Church, Stawell, is manufactured from Queensland maple, beautifully grained, and is of handsome gothic design. This honor Board is 8 feet in height, and measures 5 feet 6 inches across, and it contains 142 names, including 10 heroes who have won distinctions, and 37 soldiers who have made the supreme sacrifice. Tunbridge and Sons have manufactured honor boards for Miners' Rest:, Weatherboard, Scotchman's Lead, Durham lead, the Buninyong Methodist Church, Ballarat Shire south riding, St. Arnaud High School, Knox Sunday School, and Bungaree Shire Council, and there are boards for the Watchem South State School, and Springdallah in hand. People are realising that there is no need to go to Melbourne for honor boards, which are manufactured by Tunbridge and Sons of superior material, and are better finished and their prices are much below metropolitan rates." (Ballarat Star, 27 April 1918) Geoffrey Blainey's father was the pastor at the Burnbank Methodist church. Geoffrey Blainey became the first Chancellor of the University of Ballarat, a predecessor of Federation University Australia. The Honour Board was removed from the Wendouree Uniting Church when it was closed on August November 2019. Timber honour board for the Burnbank Methodist Church in Ballarat.burnbank street methodist sunday school honor board, world war one, honour board, honor board, wendouree uniting church

A damaged small brown cardboard Saw Millers' Complete Log and Timber Ready Reckoner book. It has a Preface, Tables No. 1, 2 and 3. which give full details of round timber, circumference of logs, contents of timber in general building sizes and full details of circumference of circles and more. There are handwritten notes inside the back cover. Opposite the title page is an advertisement for high grade circular saws and knives. Pp.120non-fictionLog Books and Ready Reckoners were used and still are these days to record information for many different work needs. This small one would have been very practical for ease of use kept on-hand in a pocket. It was invaluable to carriers and all persons engaged in the timber trade.books, documents, notebooks, log books, ready reckoners

The wooden pattern was possibly made for casting a part for Craftman Marine, makers of engines for boats and other machines. It is part of a set that is stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century. Pattern; rectangular wooden block with a corner cut diagonally. A five-sided shape has been carved into the centre, with one side curved inwards and slightly shallower than the other sides. The cut-out area is painted black. Three holes are drilled in the cut-out side to align the pattern with another piece of work. A wooden slat is fixed across the diagonal side. The back of the pattern has a handwritten inscription, possibly by two writers. The pattern is part of a set of foundry patterns from Briggs Brass Foundry and is connected to Craftman Marine.In black handwriting: "1 # H AL" Handwritten in a different hand: "CRAFTMAN MARINE" Written the the first hand: BRIGGS" (or "BRICK")flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912, craftman marine, craftsman marine

James Reid was born in Scotland near Glasgow and came to Victoria as a young man in 1854. Shortly after arriving he came to Bacchus Marsh where he lived until his death in 1902 at the age of 74 years. For most of these years he conducted a wheelwrights and coach builders business in Bacchus Marsh. In the nineteenth and early twentieth centuries, wheelwrights and blacksmiths played an essential role in the functioning of the whole community. Before the industrialisation of manufacturing, wheels and other components of vehicles for transport, all metal objects, including farm implements, building requirements and domestic utensils were made by hand. As mechanisation of industry increased, the smith commonly performed the role of farrier in the times when horse power was pivotal to all aspects of society. Small sepia unframed photograph on card with gold border framing photograph. Housed in the album, 'Photographs of Bacchus Marsh and District in 1883 by Stevenson and McNicoll' The photo shows a plain brick house with a central front door with a window on either side. There are a further two windows along the side of the house. On the left-hand side of the building there is a smaller room with its own entry door. The main roof is tiled with shingles or slate and features two substantial chimneys. At the front of the house stands a young woman with her hands clasped. A horse can be seen at the rear of the house. From the photo of the James Reid Wheelwright and Blacksmith Shop, Victorian Collections No.VC 618, we know that this house stood to the rear of the workshop. The wheel tracks which can be seen lead out to Main Street. On the front: Stevenson & McNicoll. Photo. 108 Elizabeth St. Melbourne. COPIES CAN BE OBTAINED AT ANY TIME. On the back: LIGHT & TRUTH inscribed on a banner surmounted by a representation of the rising sun. Copies of this Portrait can be had at any time by sending the Name and Post Office Money Order or Stamps for the amount of order to STEVENSON & McNICOLL LATE BENSON & STEVENSON, Photographers. 108 Elizabeth Street, MELBOURNE houses bacchus marsh, stevenson and mcnicoll 1883 photographs of bacchus marsh and district, james reid 1828?-1902, wheelrights bacchus marsh

The quatrefoil design similar to other chapel decorative arts, suggests these vases may belong originally in one of the MIssion Chapels. Possibly either the demolished 1937 Building at Port Melbourne or the original Chapel from the early 20th C at the previous Mission Building in Port Melbourne. Possibly donated in the name of Olive Cramer along with an organ lamp and memorial plaque mounted in the Chapel of St Peter.Many people see the quatrefoil as representing good luck. Christians, on the other hand, see the quatrefoil as representing the four Gospel writers: Matthew, Mark, Luke, and John. Some Christians also regard it as being symbolic of the cross.Pair of small fluted heavy brass vases with quatrefoil opening and small footprint. Highly polished outer surface and unpolished inner; each of the undersides seem to be of lead or coarse alloy lined finish.quatrefoil, clover, shamrock

Great Hall at Montsalvat built 1938-52, designed by Justus Jorgensen Covered under National Estate, National Trust of Australia (Victoria) State Significance, Victorian Heritage and Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p129 At first glance, Montsalvat, the artists’ community at Hillcrest Avenue, Eltham, could belong to another time and place. The French provincial Gothic-style buildings blend picturesquely with the introduced and native trees and farm animals on the five hectare property. But Montsalvat belongs very much to today’s Eltham, having inspired much of its creative activity and style. The use of mud-brick and recycled building materials, for which Eltham is so well-known, was largely popularised by Montsalvat. Montsalvat – unique in Victoria and probably in Australia – is registered by the National Trust and National Estate.1 Montsalvat, named after the castle of the Knights of the Holy Grail, has attracted artists and intellectuals since it was founded in 1934. For years at weekends, artists, lawyers, philosophers, politicians and others, who shared a love for what Montsalvat stood for, gathered for a meal and stimulating discussion. The focus for this gathering of talent was Justus Jörgensen, an eccentric man with vision and charisma. It was Jörgensen’s foresight that saw the creation of Montsalvat, which in 1975 was formed into a trust to benefit the Victorian people. The property was then valued at about three million dollars. It is now visited by thousands of people annually. Born in 1894 and brought up a Catholic, Jörgensen had trained as an architect. He later studied painting at the National Gallery School under artist, Frederick McCubbin, then joined the studio of artist Max Meldrum. In 1924, Jörgensen married medical student Lillian Smith, and with artist friends they travelled to Europe to study the great masters. In London Jörgensen exhibited in several major galleries. One of his still life paintings was included in the book The Art of Still Life by Herbert Furst, which featured 100 of the greatest ever still life paintings.2 In 1929, Jörgensen returned to Melbourne where Lil, now qualified, worked as an anaesthetist at St Vincent’s Hospital. They bought a small house in Brighton and Jörgensen rented a large building in Queen Street for his studio until the Royal Automobile Club of Victoria bought it in 1955. While designing and overseeing the building of a studio for his friend the famous cartoonist Percy Leason, in Lavender Park Road, Jörgensen decided to buy land for a country retreat in Eltham. So the building of Montsalvat began. Jörgensen gathered around a dozen of his friends and students from his Queen Street studio. They set to work, first at weekends then some decided to live permanently on the site. Jörgensen had seen mud-brick buildings in Spain and recognised that Eltham’s clay soil was ideal for mud-bricks and although labour intensive, it was a very cheap way of building. Jörgensen’s students and friends worked under his direction with the help of local tradesmen, including carpenter, Len Jarrold and later stone mason, Horrie Judd. In return Jörgensen would give the students a painting lesson or two. It was the Great Depression when many were out of work. Jörgensen also inspired people to give generously of money and materials. With their help Jörgensen found second-hand materials for building. Friends donated slate for roofing, discarded firebricks were used for flooring and windows and doors and a cast-iron circular staircase came from a wrecker. The students’ day started at 7am with building and domestic chores, shared equally between the sexes. The first building was used by his friends at weekends and then became a home for his wife Lil. It consisted of three rooms and an attic under a high-pitched roof. Jörgensen then built a similar structure with the same high-pitched roof as a more permanent home for his students. The two buildings were joined together with a tower and a studio for Jörgensen. While excavating for the studio a reef of yellow mud-stone was found and then used in construction. The next building was the Great Hall, to be used for dining, exhibitions and meetings and completed in 1958, after a halt during the war. Whelan the Wrecker donated the stone-framed windows from the building that housed the Victorian Insurance Co. in Collins Street, which had been demolished in the 1930s. The swimming pool was donated and cubicles were built for the students with their initials marked in tiles on each doorstep.1 One of Jörgensen’s great abilities was to recognise how to use material which harmonised. He would comb through wreckers’ yards for what he needed. Regarding his buildings as sculptural pieces, his first consideration was for the aesthetic quality of a building and only then for its functionality.2 At Montsalvat, Jörgensen found he was able to put his ideas into practice without compromise and those who worked with him had to conform to his ideas. With the Jörgensens, the colony’s original nucleus consisted of the Skipper family – Mervyn and wife Lena, daughters Helen and Sonia and son Matcham,who was to become an eminent jeweller and sculptor represented in National Gallery collections throughout Australia and in European museums.3 Other members were Arthur Munday, Lesley Sinclair, Helen Lempriere, Ian Robertson, John Smith, George Chalmers, John Busst and Sue Van der Kellan; also Jörgensen’s three sons – Max, Sebastian and Sigmund – and Saskia, Sonia Skipper and Arthur Munday’s daughter. Montsalvat went through some hard times when local gossips spread rumours of sexual shenanigans at Montsalvat. However Montsalvat also had many local supporters – especially amongst the local tradespeople. The colony was certainly unconventional – with Jörgensen’s wife Lil (and son Max) and life-time partner Helen Skipper, (mother of Sebastian and Sigmund) living at Montsalvat. Sonia Skipper says in her biography that the group were ‘very conscious of their responsibilities to each other and a desire to make their relationships work’.4 By World War Two many buildings around the Great Hall were completed. Jörgensen was a pacifist, as were most of his students. Some of the Montsalvat community enlisted while others engaged in essential services like dairy farming and market gardening for the war effort. It was then that Jörgensen constructed farm buildings. After the war many well-known personalities such as Clifton Pugh, landscape gardener Gordon Ford, and builder Alistair Knox, were drawn to Montsalvat. They learnt that building was not a ‘sacred cow’ only for professionals, but that anyone who was willing to get their hands dirty could do it. The post-war shortage of materials also encouraged builders to follow Montsalvat’s lead in reusing materials. When Jörgensen died in 1975, his influence did not – thanks largely to the vigilance of his son, Sigmund, who became its administrator. The weekend dinners have gone, but in 2008 about 14 artists still work at Montsalvat – some living there – including a couple who have been there since its early days. Under Sigmund’s direction Montsalvat further expanded its activities which included festivals, art exhibitions, concerts and weddings. Sigmund completed the Chapel, then the Long Gallery next to the pool, After the barn burnt down, he replaced it in 1999 (the builder was Hamish Knox, Alistair’s son) with a new gallery and entrance and added a restaurant. Sigmund has been careful that any new building blends in with the character of Montsalvat. In 2006 Montsalvat was restructured for its continued financial viability and with the help of Arts Victoria a new executive officer was appointed. A representative board from the wider community was established, which includes members from the former Montsalvat Trust including Sigmund Jörgensen – who is now the heritage and arts adviser to the new company Montsalvat Ltd.5 Today, visiting Montsalvat one still sees artists, students and visitors enjoying the unique and beautiful surroundings.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, great hall, montsalvat

Galena is the natural compound of lead and classed as a sulphide, it crystallises in a cubic pattern and its chemical formula is PbS. Galena is a primary source of both lead and silver. This specimen of Galena comes from Broken Hill. Broken Hill has one of the world’s largest and most significant deposit of ore for the production of lead. Mining of Galena at Broken Hill began with the staking of land by Charles Rasp in 1883. By the following year, in 1884, Rasp and six others had formed Broken Hill Mining Company. Broken Hill Mining Company eventually evolved into BHP group limited and is currently the largest mining company in the world and the largest company in Australia. There is archaeological evidence from artefacts discovered in Turkey that humans have been extracting lead from galena by the process of smelting since at least 6500 BCE. This specimen also has quartz on the top surface which is frequently discovered alongside Galena. This mineral specimen is of historic significance as a sample of Galena extracted from Broken Hill during the 19th century. Mining for Galena in Broken Hill begin in 1883 by Charles Rasp and evolved into the world’s largest mining company – BHP Group Limited. Broken Hill is one of the world’s most significant deposits of ore for the production of lead. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A flat, hand-sized, grey sulphide specimen that is the natural compound of lead with a quartz formation on the top surface. Existing Label: GALENA / (with quartz) / Locality: Broken Hill / N.S.W 120 x 70 x 29geological specimen, geology, geology collection, burke museum, beechworth, galena, galena quartz, quartz, charles rasp, broken hill mining company, bhp group limited, bhp, lead, ore, lead sulphide, sulphide, silver, broken hill

The simple cottagy handpainted designs of Louse Powell's on Wedgewood creamware was popular in the 1920s. This is one of a set of four (possibly originally six) Louisa Powell decorated Wedgewood cups and saucers. Louise Powell was the grand-daughter of Emile Lessor.Wedgwood sought to offer a new product range which, after its success, lead to she and her husband receiving money towards a studio to work, two assistants in London and a studio in the Wedgwood factory. Their brief was to developed the art wares within the company. Their style was sought by Wedgwood to mass-produce works which coincided with the arts and crafts movement. A lot of Louise's work was individual as she preferred calligraphic and heraldic motifs. Most of her designs were hand painted and a lot of her patterns were derived from nature in a calligraphic fashion.Underglaze printed Wedgewood label to base with Louisa Powell cypher. wedgewood, louise powell, creamware, cottage designs., emile lessor, porcelain

In 1932, Edward Thomas Both invented the first portable direct reading electro cardiograph. This item is a three lead electrocardiograph tracing conducted on one of Dr Angus' patients in 1939. Dr William Roy Angus (1901-1970) came to Warrnambool in 1939, purchasing the general practice of Dr John Hunter Henderson. He was the last serving Warrnambool Port Medical Officer. A health problem after the war prompted a change from general practice to ophthalmology. Dr. Angus became an important ophthalmologist , pioneering the use of the intrascleral cartilage implant which resulted in cosmetically better artificial eyes. He was an Honorary Consultant Ophthalmologist at Warrnambool Base Hospital for 31 years. He was Secretary of the Victorian South West sub-division of the Australian Medical Association from 1949 to 1956 and Chairman from 1956 to 1958. His obituary in the Medical Journal of Australia (July 1970) stated he was "dedicated and devoted to both his profession and his patients" .This item provides a link to an Australian invention of medical equipment which improved diagnosis and treatment of heart conditions in the 1930's. It is an example of diagnostic recordings used by a Warrnambool doctor in 1939.This is a card record of a three lead "Both" Electrogram. The upper one third has places for the date patient details and diagnosis. There are three electrocardiogram tracings over graph paper in the bottom two thirds of the item. The reverse side has a handwritten in ink interpretation of the tracings.Front: BOTH ELECTRO-CARDIOGRAM No. Date July 4th 1939 Rate 130 Name Age Diagnosis The patient name has been blacked out. Dr. Angus is printed in the top right hand corner. Rear: The P wave in lead 1 is broadened and notched, and has a suggestive "plateau" top. This may indicate a mitral stenosis, auricular hypertrophy. E Bannondr william roy angus, both electro-cardiogram, dr angus collection

1. Metal cased field phone. it has a bell, 2 line terminals, a battery compartment, a morse key and a 2 knob buzzer assembly. Coming out from inside is a Bakelite earpiece. On a lead on the lid a field modification has been made to support the handset (2) externally. I rear holding strap is missing. 2. Black Bakelite hand piece, press to talk switch and a heavy duty 4 pin plug.Stamped inside is 1668. Inside the lid is an operation chart - in brass. Stamped serial 25969.ww2, signals, telephones