The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card. Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat"ballarat, american studio, little gem, allen gove, tintype, woman, unidentified woman, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a child's head and torso, attached to a card. The boy is wearing a suit and the cheeks have been hand coloured.little gem

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .5) A tintype portrait of a child, attached to a card. little gem, photography, child, portrait

Pink, purple, green and grey floral patterned dress. Rayon fabric with smooth surface. Sleeveless bodice with wide shoulder straps. The shoulder straps widen from 6cm at the front across the shoulders to attach at either side of centre at 14cm. Back of the bodice is made of four straight pieces from waist to above bust line. The front of the bodice is made from three pieces with centre piece dipping. Narrow at front because gathered in to U shape at centre front at waist. Across the bust line are two pieces of fabric with horizontal folds to create fullness. The pieces are joined at centre front with a decorative knot of fabric. The bodice and shoulder straps are lined with cream coloured net. Two darts at front and two at back from waist. The full length skirt is made from two pieces at the front and the back is made from four pieces. Back of the bodice inverted at skirt. Back opening at centre back with 26cm metal zipper. Hook and eye above zipper. On either side of centre back are two folded pieces of gathered fabric attached at waistline to create the effect of a large bow with tails. Attached at the waist on each hip are two padded sections of fabric 39cm x 10cm, gathered at waist.costume, female daywear, dress

This dress, which was made around 1820, was passed down through five generations of a single family before its donation to Brighton Historical Society in 2007. It originally belonged to a great-grandmother of Margaret Reynolds (1881-1958) of Hertfordshire, England, who herself came into possession of the dress around the early twentieth century. Having no daughters of her own, in 1945 the 64-year-old Margaret sent the dress as a Christmas gift to her niece, Margaret Willoughby Reynolds (1907-1996). In the letter accompanying the parcel, donated to the Society with the dress, the elder Margaret writes that she loves the dress very much but has now outgrown it. She makes reference to her own mother Mary Reynolds (nee Lloyd)'s pleasure at seeing the dress worn, indicating that it may originally have belonged to one of Mary's grandparents. She had two requests of her niece: first, that the younger Margaret wear the dress on Christmas Eve as a treat for her Mary (the letter includes styling advice on how the dress should be worn and accessorised), and second, that she one day pass the dress on to her own daughter or niece. In March 1968, the younger Margaret gifted the dress to her Australian-born niece, Dorothy May England (nee Reynolds, 1924-2013), along with a letter of her own. Dorothy, a Bayside resident, donated the dress and both letters to the Society in 2007. The letters paint a picture of the significance of the dress within the Reynolds family and its journey from England to Australia.A white, mauve, purple, red, and green paisley / floral printed cotton day dress from circa 1820. The day dress features a wide scooped neckline, with a dropped shoulder line. At the head of the sleeve is has three lines of gathering creating a narrow arm hole around the shoulder, flaring out into a leg of mutton sleeve. The sleeve finishes neatly at the wrist with a cuff that secures with two brass hook and eye closures. The dress bodice is open at the centre front and secures with six hook and eye closures to the empire line waist. Over the breast on either side of the opening are six diagonal pleats, pressed and secured facing towards the neck. This pleated detail is on a facing that extends from shoulder to shoulder and finishes with a bound edge. The remainder of the front bodice is plain and secures to the skirt at the empire waistline. The skirt pleats onto a binding, wrapping around the torso and securing to the bodice with eight hook closures. At approximately knee, height the skirt has an additional gathered flounce with the dress finishing at approximately ankle length. From the back, the bodice is plain and the skirt is gathered and sewn to the bodice at Empire line. Alterations to the garment have been made with the addition of hooks and eyes. The garment is generally in good condition although the skirt at the front shows evidence of damage and subsequent repair.day dress, 1820s, migration, dorothy may england, margaret willoughby reynolds, margaret reynolds

Hugo Wertheim (1854-1919), was a merchant and manufacturer and was born on the 12th July 1854 at Lispenhausen, in the German electorate of Hesse-Kassel, son of Meyer Wertheim and his wife Minna, née Heinemann. Hugo reached Melbourne in October 1875. He soon began advertising, from premises at 39 Flinders Lane East, as agent for his father's cousin Joseph Wertheim, a well-established manufacturer of sewing machines. Hugo returned to Germany where he married Joseph Wertheim's daughter Sophie Emilie (1864-1953) on 30 August 1885 at Frankfurt. the couple then came to Melbourne. In a short time, with extensive advertising, Hugo established a substantial business, selling sewing machines, bicycles, pianos and other mechanical devices, under brands such as Wertheim, Electra, Planet, Griffin and Hapsburg. He also mounted elaborate displays at agricultural shows and in 1901 at the Pan American Exposition, Buffalo, United States of America. O. C. Beale worked with him before setting up his own piano business in New South Wales. Hugo continued to own 25 per cent of one of Beale's companies, which became Wertheim's Queensland business. In 1908 Wertheim opened a large, innovative piano factory at Richmond, Melbourne, intending to produce 2000 pianos and player pianos annually, predominantly using Australian materials. In laying the foundation stone, Prime Minister Alfred Deakin observed that “few men with such opportunities for a life of ease would have embarked on such an enterprise” Hugo died of chronic hepatitis on 11 July 1919 at his home at South Yarra, his wife, two daughters and three sons survived him; Herbert Joseph (1886-1972), the eldest, continued the business. Rupert became a share broker and went on to represent Victoria in inter-State tennis in 1913-27 and Australia in Davis Cup matches against Czechoslovakia in 1922. The piano factory closed in 1935, becoming a Heinz food processing plant and in 1955, GTV Channel 9 studios and offices.Early Australians had to be self-reliant in regards to making and mending their clothes and utensils. This sewing machine was one of many items used that exhibit the skill and craftsmanship of the women in these early families. A sewing machine was a necessary part of each home and this item demonstrates how women of the time managed had to become self-reliant in the repair and making of their families clothes to make their household budgets go further.Sewing machine, Wertheim brand “ Syst 182” hand crank operated machine with folding handle, timber case and carry handle. Metal machine is painted black, with remnants of gold, red and green scrolls and floral decoration. Machine has base with inlaid measuring rule across front and 2 holes drilled through the base (perhaps for mounting machine to a bench). Machine tilts open, hinged on one side, after thumb screw is unwound, revealing machine’s workings and serial number. Base has a fitted round, concave, silver metal pin holder with lid that hinges open, and symbol pressed into lid; several pins are inside. Body of machine has brand name transfer across front and oval metal trademark disc on front. Metal sliding covers over footplates have stamped lettering. Timber machine case or cover includes an accessory box with sliding cover and metal hook and eye latch, and inside the box are 23 metal sewing attachments, a disc and a stick of black crayon with maker’s trademark on it paper cover. Workings of machine have seized up. The crayon wrapper has printed on it “For the wonderful Wertheim new family machine made in Germany ‘Syst. 182’”, and the maker’s symbol with “Trademark” beside it. Made for Hugo Wertheim.“WERTHEIM” transfer across front and back of machine body. Cover of pin holder has symbol ‘Wings above a shield’. Maker’s trademark on gold oval disc, “WERTHEIM / FRANCFURT” and picture of a dwarf with a hammer. Left footplate has script “Syst 182”, right footplate has stamp in oval shape “MANUFACTURED IN - - /SPECIALLY FOR / HUGO WERTHEIM” Serial Number “7501”flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sewing machine, hand crank sewing machine, hugo wertheim, wertheim, clothing manufacturer, sewing, syst 182

This well-produced but water-damaged book of Longfellows Poetry, was part of the former Warrnambool Mechanics Institute Library and Museum collection. The custody of this collection was assumed by Flagstaff Hill Maritime Village in the 1970s. Supporting provenance indicates the book was retrieved from the sea at Loch Ard Gorge soon after the shipwreck of the same name in June 1878. This book was given to the Warrnambool Museum curator Joseph Archibald by its finder, the Warrnambool Standard editor Henry Davis in October 1883. A letter from Mr Davis describing the poignant circumstances of his discovery is also in the Flagstaff Hill collection. A transcript of this letter is displayed next to the book in the Great Circle Gallery at the Maritime Village (reg. no. 2292). The story behind this book prompted Mr Archibald to write to the sole surviving female passenger from the LOCH ARD, Eva Carmichael, asking if the book was hers. Miss Carmichael replied by handwritten letter in January 1884, advising that the volume of poems did not belong to her: “We had a ‘Longfellow’, but our book had a green cover”. This letter is also in the Flagstaff Hill collection (reg. no. 2290.4).The book is rare as it has survived a shipwreck in relatively good condition. It is an example of personal possessions carried by a shipboard passenger in the 1870s. It holds significance for its connection to the renowned poet, Henry Wardsworth Longfellow. The book is important for its probable association with the wreck of the vessel Loch Ard in 1878. The LOCH ARD shipwreck is of State significance and is listed on the Victorian Heritage Register S417. A volume of poetry by Henry Wadsworth Longfellow. It is bound in blue-purple cloth on thick board, with black lettering and curling-vine design, framed by gold border. In the centre of the front cover is a raised smooth-white ellipse with crimped edges, now worn bare but with traces of an original brightly coloured floral design. This white centre of supple leather is also framed by a decorative gold border. The upper case lettering on the front cover reads ‘Longfellow’s Poetical Works’. The edges of the blue material are faded and worn. The pages are corrugated by water damage but their original gold-edged condition is still evident. The front and back covers are scored with singed holes approximately 1.5cm diameter, situated about the centre edge of each side and in roughly corresponding positions. These holes may be from an original book-latch or fastening. However they have since been damaged by a hot piercing object, which has blackened the holes and extended the damage into the enclosed pages. The spine of the book features a stylised oak tree in gold, rising from bared roots to serrated leaves and acorns. The letters “LON[DON]” at the top of the spine and “W.P.NI[MM]O” at the bottom. The book cover has separated from the majority of stitched pages, along with a number of title pages, which are now loosed from the binding. The books condition is fragile from a handling perspective, but stable in terms of further deterioration. ‘Inscribed “Loch Ard June 1 1878” in pencil within ― believed to be a salvage from the shipwreck’ (Mechanics Institute Library auditor, June 1996).warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, longfellow’s poems, loch ard, eva carmichael, warrnambool mechanics institute library, warrnambool museum, joseph archibald, henry davis, william p. nimmo, poetry, heny longfellow, henry wadsworth longfellow, poetical works, 1870s, 1877, longfellow’s poetical works

Handmade ivory coloured cotton full length night gown. Front has yoke of diagonal pieces of lace with cut work and floral patterns, squares, embroidered flowers with horizontal lace pieces across shoulders. The top edge of the skirt has an edge of lace with square shapes and centre flowers of cut work across the front and back. The back has five 1cm tucks on either side of centre that extend 5cm below the lace edge. The high front neckline is square and the high back neckline is rounded. The neckline is edged with cotton broderie lace and insert lace with cream coloured satin ribbon threaded through. Below the decorative lace strip at the front is a section of fine pintucking 12cm on either side of centre and 9cm below lace strip. The night dress has a front opening extending 31cm from the throat. It has a placket with two button holes 10cm and 20cm from the throat. Two buttons on other side. No fastening at throat. French side seams. Long set-in sleeves with two rows of lace and three rows of pintucks extending from shoulder down top of sleeve to wrist. A piece of insert lace at wrist. A frilled cuff of broderie lace widening from 9cm at inside seam to 12cm at outside edge, machine stitched.costume, female underwear, nightgown

Clothing, cream coloured double layer child's silk cape. Inner cape has 13 cm one piece circular yolk with 7 cm turned over collar. Casing around neck has 4 cm draw string ribbon threaded through. Inner cape is made from one piece of fabric with inverted V shaped insert on LHS extending 40 cm from edge of yoke. Inner cape is fully lined with cotton fabric. Two extra satin lining panels extend from yolk to hem inside both front openings.(7 cm widening to 28 cm at hem). Outer cape is made from one piece of fabric falling 57 cm from the collar. Outer cape is fully lined with cotton fabric with additional satin lining panels inside front openings from neckline to hem ( 8 cm at neck to 30 cm at hem). Both layers have decorative silk embroidery of floral patterns. Outer cape pattern extends down both sides of front opening and continues above the hem line around the cape. The embroidery on the inner cape extends from the lower edges of the front openings and continues above the hem around the cape. The collar is embroidered with silk thread and lined with satin fabric. Old box 524.costume, children's, cream coloured silk cape.

This photograph depicts a Melbourne District Nursing Service (MDNS) Sister administering an injection to a gentleman in his own home in the suburbs of Melbourne. The Sister is wearing the MDNS winter grey uniform short sleeve dress and grey wool beret with a central red Maltese cross. Glass syringes were used until the mid 1960s when plastic disposable syringes were then used.The Trained nurses of the Melbourne District Nursing Society (MDNS), then Melbourne District Nursing Service from 1957, and from 1966 known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing and to people of many cultures throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary. This photograph depicts Melbourne District Nursing Service (MDNS) Sister Mary Maxwell administering an injection into the left upper arm of Mr Cannestra. On the left of the photograph Mr Cannestra is sitting on the padded arm of his patterned couch; he has his left arm extended. His head, which is bald with some white hair at the side and rear, is turned towards the Sister who is standing on his right. He is wearing a grey shirt and his grey trousers are held up with braces. Sister Maxwell is wearing a white gown over her grey uniform with the collar seen. She is wearing a grey wool beret with central Maltese cross, over her short, dark hair. She is standing beside the patient and her left hand is holding his left arm with his shirt sleeve rolled up to expose his upper arm. She is holding the angled barrel of a glass and metal syringe in her right hand and some of the needle can be seen against Mr. Cannestra's arm. In the background the wall is covered with a striped wallpaper, and to the right part of a long floral curtain can be seen. To the right in the foreground, a round dark tray with jar, small bottle containing the medication for injection, a glass and a white cloth, sit on a small round table with a white and patterned tablecloth.La Trobe Street Studios. Reference number 59134-21melbourne district nursing service, mdns, mdns - injection, royal district nursing service, rdns, sister mary maxwell, mr cannestra

Object.Pascall 1920s Yellow Chocolate Box. Design Flanged Sexangular Box with Curved Sectional Top, Sepia Photograph with Subject's Hat and Dress tinted in Pale Yellow in Centre of Lid. Photograph Surrounded by Gold Border. Subject Young Woman & Her Pet Cat. Photograph has White Mark PC Parts in a circle and the number 524 underneath. Inside Lid Pascall 1 lb Net. Contained in Box Labels Packers No 493 and Checkers No 476. Packaging Brown Paper and Fine Paper Shavings in Pale & Dark Colours. Also Another Tag Buff Paper & Red Text In Top Left Hand Corner is the Pascall London Trademark Purity & Sweetness Seal & In The Top Right-hand Corner is A Floral Emblem & The Words Furzedown. The Title On This Tag Reads Co-operation Between The Manufacturer & Consumer. The Remaining Text Reads: - These chocolates were packed with the greatest care and left in our factory in perfect condition. Extremely hot weather or contact with steam pipes may turn these chocolates grey. This is not an indication of age but of the temperature to which they have been exposed. Goods are all packed full weight; the paper shavings used are for packing and protection only. If any complaint necessary please return this ticket with the goods. James Pascall, Ltd London England. Chocolates are also still contained within the box all these years later.domestic equipment, containers, decorative chocolate box

An RDNS Sister had previously visited Mrs. Crook in her home and assessed the nursing care she required. Following the Sister's instructions, the Home Health Aide in this photograph, Robin Brown, is assisting Mrs. Crook from her lounge chair onto her walking frame. Mrs. Crook's son, Robert is also assisting his mother. Home Health Aides were employed and trained by Royal District Nursing Service (RDNS) from 1980. They wore a RDNS royal blue uniform, which has a white trim and RDNS badge applied to the left hand side, and a dark blue cardigan. In 1980, a Home Health Aide ‘Pilot study’, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by RDNS Principal Nurse Educator. Pat (Paddy) Rowley, was evaluated as successful. Following this Pilot study, Home Health Aides were employed by RDNS, and after instruction in the RDNS Education department, joined RDNS Centres and worked under the supervision of the RDNS Trained nurses (Sisters). The Sister assessed each patient, then introduced and supervised the Health Aide in the patient procedure required. The Sister wrote out clear, concise procedural instructions on a work card which the Health Aide followed each visit. If the Health Aide noticed any change in the patient’s condition, this was reported immediately and the Sister visited. The Sister made routine visits to the patient for review at least monthly. On the left of this black and white photograph is Royal District Nursing Service, Home Health Aide, Robin Brown, who has dark shoulder length hair and is wearing a dark cardigan over her dark coloured uniform which has white piping at the edge. To her right is Mrs. Crook who is sitting froward in her lounge chair. A walking frame, which has a material bag hanging from the front bar, is in front of her. Robin Brown has her left hand on Mrs Crook's back and her right hand under her arm. Mrs. Crook has curly white hair; is wearing glasses which are resting partly down her nose, and is wearing a light coloured cardigan over her dark dress. Part of a necklace of pearls can be seen hanging over her dress. She is smiling and looking at the camera. She has her right hand on the upper part of the right wing of the walking frame and her left hand is on the top hand grip section on the left wing of the frame. To her right, her son, Robert, who is squatted down by the chair, has short dark hair and is wearing a checked shirt. He is holding the left wing of the walking frame with his left hand and his right arm is extended with his hand on his mother's back. Closed floral curtains are seen in the rear of the photograph.Photographer's stamprdns, royal district nursing service, home health aide, home health aide uniform, patient care, mrs crook, mr robert crook, home health aide robin brown

Yields information through movie films of the 1960's of Ballarat trams operating in the streets of Ballarat and has a strong association with the maker - National Film and Sound Archives and Chris Long.Video cassette in a plastic case, titled "Living Ballarat - 1901 - 1941, National Film and Sound Archive (1990)". See Reg item 4519 for the DVD version. The DVD was made by Peter Winspur using this tape. Transferred to the Hard Drive 11/1/2010- AV Files - dB text/AV Files/Reg Item 4519/Video_TS (at 12/1/2010) Copyright provisions - National Film and Sound Archive - segments may not be used without their permission, viewing only. Synopsis: based on time - 0.00 - intro, 1901 film, Melbourne, first film in Ballarat, Royal visit to Ballarat, Boer War Monument, first feature length film in Ballarat. 2.50 - Bridge St and Sturt St scenes, filmed from a flat truck pushed by an electric tram, including No. 11 going to City Oval to Lydiard St. 5.00 - Sturt St Military parade, with trams in background and tram running alongside. 6.54 - scene of Alfred Hall and films. 7.32 - scene on Lake Wendouree and paddle steamer - Living Ballarat film - Pathe's Ballarat Gazette local film unit, football ground scene. a children's beauty competition, tree planting at Macarthur St state school, 1911 Ballarat Show, unveiling of the Boer War statue name plates, Lake Wendouree 1912. 13.22 - St Patricks David Pde with trams in the background. 14.24 - Ballarat Kennel club dog show. 15.50 - Royal visit in 1920, Arch of victory opening 17.48 - Day at Macarthur St state school and tree plantation 20.55 - Bakery Hill - Stones Corner with tram tracks, cars, little trams, Sturt St with a tram leaving Grenville St, ESCo 9 turning from Lydiard St to run down to Grenville St. 22.15 - Ballarat Show, Coliseum Hall, 1925, races, machinery shows, boxing troupe. 25.20 - Botanic Gardens Gates, Lake Wendouree area. 25.30 - Gem Picture travelling show - film 26.16 - Formal visit of English pressman to Ballarat, 1925, Botanic Gardens, Eureka Stockade, Avenue of Honor, Moorabool Reservoir. 29.15 - 1927 Fed Govt doco of Ballarat, Black Hill, 1927 Home to Ballarat Festival, Ballarat Commemorative song, Craigs Hotel, Ballarat Post Office, tram centre poles in Lydiard St, tram climbing Sturt St, Town Hall, tram at Lydiard St terminus coursing, 8, Sturt St, view of ESCo Sebastopol car leaving Grenville St, Selkirks Brickworks, the Welcome nugget, Peter Lalor statue, Eureka stockade, sewerage plant, modern housing, Sturt St west, water supply - golf club, the High School, the orphanage, fine homesteads around Ballarat, Lake Wendouree. 41.00 Opening of the Ballarat Aerodrome. 43.11 - Depression work and leading into radio broadcasting - 3BA open 1930, typewriters, radio transmission equipment, radio aerials, boys listening to crystal sets 47.50 - Bluebirds Children session tour to the Gardens, mentions the BTPS, trams 13, 3? and 14 carrying visitors arriving and getting off and picnic. 48.50 - expansion of 3BA transmitter capacity 51.30 - 1934 visit of the Duke of Gloucester - visit to the Lucas factory, views of the work floor and the factory history and then South St band competition at the Showgrounds. 55.10 - South St Music Festivals, Coliseum and fire. 56.25 - Ballarat Floral Festival March 1938 - Victorian Railways arch of welcome. 57.25 - segment in the shot of 12 and 19? in Sturt St 57.45 - colour segment of the festival, 58.39 - Grenville St tram shelter, Bridge St, Sturt St, arches, Main Road, Council Road Roller, Victoria St, Eureka Stockade Reserve, Botanic Gardens, setting up the flowers, wax papers. 1.01.48 - decorated tram, north side of Sturt St, details of the materials used, Crockers. 1.03.20 - Hospital Fund Raising Gala Day - March 1938, special trains arriving Ballarat Railway Station, fund raising procession, pageant at the Showgrounds, fly past. 1.07.35 - 1939 Summer, motor cycle races at Learmonth, City Oval fire brigade demonstrations, Ballarat (East) Fire Station decorated for the 1939 Floral Festival with tram in the background and No. 29, Floral Tram and others. 1.09.25 - July 1914 - Ballarat at War parade, troops. 1.10.10 - credits. Box has images of a tram and town hall on the front and details of the contents on the rear and who made it etc. See images for details. ballarat, 3ba, floral tram, royal visit, buildings, esco

Full length sleeveless dress of dark blue fabric with light blue all over embossed floral pattern. Front of bodice made from one piece with two darts from the waist. Back same as above. Square neckline formed by pleated section of fabric (upward facing knife pleats) across the front. The pleating continues on the shoulder panels at the front. 13cm wide at shoulders. The shoulder pieces continue to attach at the back bodice but widen to form a rounded collar effect on either side. At centre back where collar joins, a folded piece of fabric is attached to form two tails of a bow falling past the waist (39cm). A decorative metal clasp with three rows of diamantes is attached at the top of the bow, 7cm below the neckline. On the front bodice there are two decorative rows of diamantes below the shoulders where the shoulder piece joins the pleated section across the front. Front and back bodice dip slightly at centre. Side opening on LHS with 36cm metal zipper from armhole. Hook and eye at top. Fabric piping around waistline front and back. Skirt made of four pieces. Centre and side seams. Gathered into waist (bodice) with series of small pleats random (uneven) knife and box flat seams. Large stitches visible on front of bodice where pleated section is visible. 2cm wide strips of elastic hand stitched inside each shoulder section, attaching front and backs of bodice. Check collar attached.costume, female evening, dress

Scrapbooks and albums provide a unique record of individuals, families, organizations, and associations. This scrapbook was compiled for Raymond and Rosemary by their Aunt Gertrude. It was donated to the Society by Rosemary Vaughan-Smith.Illustrated cloth bound, hard cover album used as a scrapbook. On the inside front cover the creator of the scrapbook is identified in 'scrap' lettering as "Aunt Gertrude" and that the recipients were "Raymond [&] Rosemary". Each of the 80 pages in the scrapbook includes pasted monochrome or colour printed illustrations and or texts. Typically, there is one design per page. Most of the material used in the scrapbook is undated, however dates may be deduced from the style of individual items. Some of the illustrations date from the 19th century while others are clearly from the first decades of the 20th century. A number of the items included have their publication date included in the design, including British soldiers in regimental uniform (1914), and covers of popular magazines such as Punch (1924). Many of the items include their original captions or the designer's name such as popular cartoons such as 'The Emergency Exit by W Heath Robinson, or 'Wheels and Squeals: A Study in Progress' by Alfred Leete. Illustrated advertisements for products such as 'O-Cedar Mop Polish', and magazine covers such as 'Passing Show' also provide opportunities for dating materials used in the book. In addition to the aforementioned types of material used, the scrapbook also contains sentimental, floral and religious illustrations, instructional educative materials, and patriotic content. The materials used would appear to be British in origin. Typical of many scrapbooks of the period, the album has a number of conservation-related issues, including foxing on some of the pages and illustrations. These may have resulted from the residue of sweat on fingers or from the glues used for pasting in some of the content.manuscripts - kew historical society, rosemary vaughan-smith, vaughan-smith collection, scrapbooks

Ladies black boned bodice of brocade fabric with floral pattern. Crossover front opening with internal centre fastened with thirteen metal hooks and eyes.Crossover section fastened on LHS with seven metal hooks and eyes covered by overlapping panel. Front of bodice is decorated with dense patterns of small black beads and black sequins. There are three vertical panels of beading. The centre panel is bordered with gathered ruffles of black ribbon (one cm wide). The overlapping edges of the side panels of the bodice are edged with gathered ruffles of black ribbon. The front panels of the bodice are lined with black cotton fabric. The back of the bodice is plain. The bodice has a straight edge at waist level with a cotton tape hem. The lower section of the bodice is boned with ten fabric cased bones distributed across the front and back, attached vertically from the waistband. A fabric belt (three cms wide) is attached at centre back four cm above the waist, inside the bodice. The left hand end of the belt has a metal buckle ( 3cmX2cm). The bodice has a 7cm stand-up collar fastened above the left shoulder with three metal hooks and eyes. The collar is densely decorated with small black beads and black sequins. At each shoulder is an epaulette decorated with beads and sequins and edged with one cm gathered ribbon ruffles. The long sleeves are shaped at the elbows with four cm beaded cuffs fastened with two metal hooks and eyes. Above the cuff is a four cm fabric flounce, a row of gathered ribbon ruffle (one cm) and a three cm row of beading and sequins. Sleeves are unlined.costume, female, ladies black beaded boned bodice.

Beautiful soft cream silk dress, with a random silk embroidered three petal flower over the fabric. Round neckline with overlaid square yoke of embroidered lace on a net background. Two 7cm wide bands of the lace are gathered over the shoulder armhole edge. These frills, and the scalloped edges of the front and back lace yoke are trimmed with 4 cm long decorative silk tassels.(one missing). Long sleeves, tapered in at the wrist are trimmed at the wrist with a 4.5cm wide band of lace, part of which is threadedwith two rows ofsoft pink silk ribbon insertion. Soft pink silk, folded into three 2.5cm tucks-overall width 6cm trim the high waistline, with a 7cm diameter rosette at the left front, and a bow(?), and tails, trimming the back waistline. This is severely damaged. Four metal hook and loops fasten the back lace collar, and nine metal hooks and eyes fasten the bodice. Bodice and sleeves are fully lined. Bodice is boned with thirteen 12-4 cm long ''bones''. Skirt is in two tiers; Top is 38cm deep, and made from the plain embroidered silk. A 5cm deep band of lace, with scalloped edges then joins the 36 cm deep ;lower panel of beautifully embroidery and pulled threadwork. Hem is faced, and finished or hemmed with french knots. Dress , which is hand stitched is fully lined with cotton. The lower 36 cm deep tier of the underskirt is trimmed with three .5cm tucks, and two 8cm bands of cutwork lace in a floral and geometric pattern. An oval shaped pocket is sewn into the front of the ''petticoat'' lining. This pocket contained some plant material, included in attached bag.costume, children's, cream embroidered silk and lace dress

B&W photo of the Johns family of Selby. Photo appears to date from c. 1930s. They are outside, with a hedge directly behind them. L-r, Martha Johns, a young woman sitting in a wooden chair. She is wearing a floral summer dress with a dark bow at the neckline. Martha was born in 1916. A young man, William David (Dave) Johns, stands, wearing a three-piece suit and tie. His left hand rests on the back of the chair of the next woman. This older woman, Alice, sits at a small table and has her left hand resting on an open book. She wears a dark skirt, light patterned blouse, and dark cardigan flecked with a lighter colour. She is wearing a necklace and she has round-framed glasses. Another young man, Ernest Johns, stands to her right. He is also dressed in three-piece suit and tie. He has his right hand placed on his right hip. A young woman, Florence Johns, sits in a wicker chair. She is wearing a dark outfit with a pale collar. Her hair is parted on the side and braided into two plaits. An older man, William John Johns, sits in a wooden chair. He is wearing a three-piece suit and tie. His waistcoat buttons up high on his chest, more of an old style suit than the two young men. He has grey hair and a moustache. All members of the group are smiling slightly. The photo was taken at the family farm, Hillandale, in Selby. Information provided by Lyn Kershaw, daughter of Dave Johns.

Annual reports produced by the SIBI, informing their subscribers and the general public of the good work undertaken by the Institute and the ongoing need for funding. Information provided included income, expenditure, fund raising, staff, services, etc. Below is a summary of other information contained in the reports. 1902 - Trades at which the blind are employed, extracts from visitors books, balance sheets, supplementary catalogue of books in library, subscription and donation lists by town, constitution of the institution and rules, sick fund rules and balance sheet. Also noted were the impending installment of a printing press for books, the development of blind distributors of tea beverages and that instead of a blind boys home, boys would instead be sent to board with suitable families. 1933 - A list of braille transcribers and the amount of braille produced, a brief report on the Floral Festival organised by the Women's Auxiliary Committee and the donation of a shop in George Street for 12 months for the selling of articles made by the Blind was provided by a SIBI committee member. 1934 - A brief report on the hostels at William Street and Woollahra, a detailed listing of all functions which raised money through the auspics of the auxiliaries, and a visit by Superintendent Hedge and Librarian Mr Thompson to the Croydon Ladies Social Club. 1938 - A radio show called the 'Glow Worm Session' on 2GB with home teacher Roy Kippax, the 150th anniversary of Sydney celebration and a 16 millimetre film that was made to publicise the Institute's work. 1939 - A record amount raised through the sale of goods made by Blind Workers, the refurbishment of "The Haven' at Woollahra and transfer of residents from William Street, and free admission by the Trocadero and Metro-Goldwyn-Mayer to swing concerts and 'Broadway Serenade'. 1940 - Incorporation of the Institute's Women's Magazine into Boomerang Magazine, the enlistment of two Board members Cohen and Meeks for active service, and a brief report from each of the branch auxiliaries. 1941 - The difficulty of obtaining stereotype Braille items from London and the passing of the editoress of the Women's Magazine Miss L.E. Hudson who had just completed the final edition. 1942 - Employment of 60 blind men and women in war related industries, the purchase of an air raid shelter and the small size of the report due to the shortage of paper. 1943 - Closure of the Basket department due to government regulations on cane stock, the provision of a lunch hour news service provided by visitors and individual reports from each of the Ladies Auxiliaries. 1944 - Presentation of a revolving chair to Honorary Librarian Mr H.W. Thompson for 35 years of service, the filling in of air raid trenches due to the improvement of the wartime situation and that SIBI had been supplying the Royal Australian Navy with mats, brushware and other products. 1945 - Continued placement of blind workers in outside industries, the compilation of a register of blind citizens and the election of the Hon. Justice Maxwell as President. 1946 - The successful application for Royal assent and the subsequent name change of the insitution, the intervention of Hon. Member C.R. Evatt Minister for Housing regarding the building of a new hostel for blind women and the establishment of an Honour Roll with a description of inductees Mrs K.L. Barry, Mrs J. Ayre, Mrs E. Vance . 1947 - Establishment of an occupational therapy department, the acceptance of Helen Keller to visit the society and the induction of Mrs Rivis Mead to the Honour Roll. 1951 - Passing of Librarian Miss Jean Currie and the use of prisoners to transcribe materials into Braille.Single volumes with various pagings, illustrations

A collection of 18 photographs taken by Mrs Haines' sister whilst on an excursion to Phillip Island from Mt Barker High School in South Australia. 217-01 Photograph of the Cowes Pier taken from foreshore. Ferry at centre left and crowd of people on end of pier. 217-02 Photograph taken from the end of the Cowes Pier with Isle of Wight Hotel in the background. 217-03 Photograph of the Killara Ferry leaving Cowes with a crowd of people on board. 217-04 Photograph of waves surging over Bridal Veil rock platform in foreground. 217-05 Photograph of wave breaking over rock platform on the South Coast of Phillip Island. 217-06 Photograph of the Suspension Bridge from San Remo. 217-07 Photograph of a Guesthouse Dining Room. Tables covered with white cloth and fully laid, including floral arrangements. 217-08 Photograph of the War Memorial at Cowes with the pier in background. 217-09 Photograph of seals on Seal Rocks Phillip Island. 217-10 Photograph of a koala on the trunk of a Gum Tree. Handwritten on the back of the photo - "Roberta, a pet koala". 217-11 Photograph of children rolling down dune onto the beach. Children and adults standing at water's edge. 217-12 Photograph of the Killara at San Remo taken from the Suspension Bridge. 217-13 Photograph of a group of school children with teachers, young girl in the foreground, on rocks at Smith's Beach. 217-14 Photograph looking along the Suspension bridge from Newhaven end. Group of people walking toward San Remo. 217-15 Photograph of Suspension bridge from Newhaven beach. 217-16 Photograph of Mrs Melbourne and Mrs Haines sister. 217-17 Photograph of Seal Rocks taken from a boat. 217-18 Photograph of Theni Beddams - Headmistress of Shelford and Ila Tattersall (Mrs Haines) Sybil Robinson's sister together with four sailors.cowes pier phillip island, the killara ferry, ferries, wildlife - seals, wildlife - koala, suspension bridge phillip island, phillip island coastline, smith's beach, lover's walk cowes, lover's walk cowes phillip island, war memorial cowes phillip island, seals on seal rocks phillip island, seal rocks phillip island, mrs haines

Set of 19 copy negatives, of black and white photographs of Geelong trams from Ray Pearson Collection, taken by Dave Macartney in 1975c. Original negative held in the negative file. Scanned at 2400 dpi and cropped as necessary. Images as shown replaced by scan from the original Ray Pearson Album provided by Mal Rowe, April 2020 or that there is a better image. .1 - sprinkler/water tram - see Reg Item 5894 for a better version of this photograph. .2 - No. 11 summer car, side on view - image replaced. .3 - Postcard, No. 14 summer car, Moorabool St Geelong, Real Photo 1535 - image replaced. .4 - Postcard, No. 27, Valentine Series No. 1468, Ryrie St - image replaced .5 - Postcard No. 23, Valentine 1434, Moorabool St - image replaced .6 - Postcard, Rose Series P75, Moorabool St - image replaced .7 - No. 8 - image replaced .8 - old tram after sale .9 - No. 29 Birney - See also Reg Item 5852 for a better version of this photograph .10 - No. 14 - East - see also Reg Item 5847 for a better version of this photograph. .11 - No. 25 - Belmont - see also Reg Item 5870 for a better version of this photograph. .12 - sprinkler/water tram - image replaced .13 - No. 303, in Adelaide - before becoming Geelong 27, has destination of Rosewater - image replaced .14 - 9, 20 and 22 at depot - image replaced .15 - No. 3 - see also Reg item 5826 for a better version of this photograph. .16 - No. 26 - see also Reg Item 5872 for a better version of this photograph. .17 - No. 27 0 see also Reg Item 5851 for a better version of this photograph. .18 - Floral Tram - 1938 - image replaced .19 - No. 28 at Station, Newtown - image replaced trams, tramways, geelong, floral tram, birney

Louisa Thomas married Henry Gipps (1837-91)in 1863. They had six sons and two daughters. While Louisa and Henry Gipps were to die in Sussex, two of their sons, Frederick George De Visme Gipps (1867-1953) and Richard Brook Woodthorpe Gipps (c.1872-1946) migrated to Queensland, possibly bringing with them their mother’s sketchbook.The collection of artworks that are included in the sketchbook are often of outstanding aesthetic and artistic significance. In the variety of subject matter and the geographical places represented, it is historically significant as a document recording the postings of Colonel Henry Gipps, 9th Norfolk Regiment, and his wife Louisa to locations in the Mediterranean and West Asia. The large bound sketchbook has a marbled cover with blue binding. The name Louisa Goulburn Thomas and the date 1862 are faintly inscribed in pencil on the front page. However the book contains pen and ink and pencil drawings, watercolours, and photographs, which both predate and postdate 1862. The approximately 75 works are loose-leafed items and [currently] do not form a chronological, geographical or thematic sequence. Creators identified on some drawings and watercolours include Mary Julia Wilder Thomas, JFV Wright, ELG (Edward Louis de Bondell Gipps?), L Nicholson, Bertha Isadore Thomas, and HG (Henry Gipps?). Many of the works are signed and dated, and include rural landscapes and seascapes, archaeological sites, animal studies, and portraits. While most of the works were created in the British Isles, others are scenes of Venice, the Ionian Islands, Cape Town, Hong Kong and Japan. [A number of the ‘oriental’ paintings on silk were probably purchased from local artists.] The art works in the book are at various stages of completion and represent a diverse range of artistic skills. What may be the earliest work in the sketchbook is a drawing of three uniformed soldiers. An annotation on the reverse records that the drawing is of a Group of Soldiers after [Philipp Jakob] de Southerbourg 1830. The birth of Louisa Thomas' oldest son, William Henry Houston Meyrick Gipps (1864-1903) in Corfu perhaps explains why a number of scenes and items in the album are of the Ionian Islands. Louisa is probably the creator of a number of still life and botanical studies in the album. These range from floral studies to a bird’s nest. The painting of objects was to remain a socially ‘approved’ specialty of amateur and professional women artists into the 20th century. The complete contents of the album will be uploaded to accompany this record. Some items may be published separately on Victorian Collections, but will acknowledge their origins in the sketchbook."Louisa Goulburn Thomas / 1862"victorian sketchbooks, manuscripts - kew historical society, 9th norfolk regiment, rosemary (gipps) vaughan smith, vaughan-smith collection

This gown, one of two similar items in the collection, belonged to one of the daughters of George Ward Cole, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A black and mint green wool, velvet, lace and silk dress from circa 1882. The bodice features a wired, standing collar, finishing just under the chin and open at the front of the throat. On either side at the front of the throat it features long black lace ties with black jet bead fringe. The centre front of the dress from the neckline to the base of the skirt features an insert panel of mint green corded silk. The silk is gathered and the neckline and waist and overlaid a panel of gathered lacy net. Inserted into the seam at either side of this panel at the waist are two velvet ties. The dress secures closed with eight black buttons and one hook and eye down the right side of the mint panel to mid thigh. The edges of the collar and black front panels are finished with a looped ribbon trim. The remainder of the dress is made of a black wool fabric woven a checkered pattern of larger and looser threads and smaller and tighter threads creating a seersucker like pattern. The bodice features a natural shoulder line and an Amadis sleeve of full cut gathered to the bodice at the shoulder and finishing at the elbow with a large black lace flounce. The front panels of the dress are flat and shaped neatly to the body from neck to hip line and gently out to create the Victorian silhouette. On the back of each shoulder the dress features a leaf like, small jet beaded embellishment with multiple long loops of jet beads falling down the back to the waist. Underneath this embellishment is a pleated black ribbon that runs from the shoulder to the back of the pelvis. Over the pelvis are another two jet beaded embellishments of a floral design with two tassels. The skirt is full and pleated in under this embellishment and fulls to the floor with a small train. The base of the dress is finished with a ruched band of the main dress fabric.st ninians, george ward cole, visiting gown, brighton, miss margaret morison ward cole, miss agnes bruce ward cole, 1880s

The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, both this dress and the dress T0004.3 were made for Elizabeth and Cecilia, to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that the dress T0004.3 was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. However, it is unlikely that either of the girls wore this dress at the ball due to the size and styling of the dress. It is likely that the dress belonged to one of the girls, but was worn at a later date. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand sewn white purple, pink, green, blue and yellow floral silk chiffon dress from circa 1870. The dress consists of two pieces worn together as a dress. This dress has received a great deal of mending and alteration and so it is difficult to be sure of what constitutes its original state. The following description is of its current state. The bodice has a high neck with a simple shallow band collar, an olive braid and a press stud closure. The bodice fastens down the centre front with ten hook and eyes closures and two sets of ribbon ties . The bodice has three darts providing shaping into the waistline. The bodice finishes at the waist and gently tapers towards the front creating a 'V' line. Down the centre front from the neck to the waist concealing the bodice opening is a pressed pleated ruffle of the dress fabric and a line of olive braid. The dress features pagoda sleeves finished at the hem with pressed pleated ruffle of the dress fabric, a line of olive braid and a silk fringe of 4 cm pale pink and white. The skirt part of the bodice section attaches to the front of the dress with two hooks and eyes on the left hand side of the waist. The fabric drops down to approximately the knees at the front, curving up and splitting on either side over the hip. The edge of this piece is also trimmed with a pressed pleated ruffle of the dress fabric and a line of olive braid. Just below the hip on either side is a large bow of pink, cream, purple and green taffeta. The bodice at the back is shaped with four panels into the waistline. Where it joins the bodice skirt the skirt is pleated, creating fullness. The skirt of the dress ensemble secures at the waist on the left hand side. At the front it has two pleats (that may have been repositioned during repair), and is fully gathered at the back. At the front the dress falls to the floor whilst at the back it is longer to accommodate the bustle and possibly a small train.cecilia elizabeth adams, elizabeth emma adams, 1870s fashion, tower house, woodchester, james smith adams, elizabeth emma mctaggart, mary rose columba adams, sophia charlotte louisa adams

'Menin Gate at midnight' was painted by Will Longstaff to commemorate those soldiers with no marked graves on the Western Front during the First World War; also known as 'Ghosts of Menin Gate'. Longstaff attended a ceremony dedicating the Menin Gate memorial to the soldiers of the British empire forces, just outside the town of Ypres, Belgium, on 24 July 1927. The memorial was dedicated to the 350,000 men of the British and Empire forces who had died in battles around Ypres, and bears the names of 55,000 men with no known grave, over 6,000 of whom were Australians. Longstaff was profoundly moved by what he witnessed and that night, unable to sleep, Longstaff returned to Menin Road and later claimed to have had a vision of spirits of the dead rising out of the soil around him. On returning to his studio in London he painted 'Menin Gate at midnight' in a single session. Today 'Menin Gate at midnight' has achieved the status of a national icon. The painting retains its ability to provoke an emotional response and to communicate the scale of the loss of life and the devastation of war. However as people now have a very different understanding of war, the painting serves a slightly different function. Whereas in the past people responded to the painting as it related to the loss of a loved one and their own personal grief, now the painting communicates the loss experienced by a whole generation. The vast number of those who were killed, and the immensity of the damage wrought during the First World War, requires that those who sacrificed their lives should not be forgotten. Longstaff used well-known motifs to trigger emotion. His scarlet poppies are flowers that could be found in the Flanders fields, but they also carry the traditional connotations of shed blood and remembrance; they represent a floral blanket covering the bloodied bodies of unknown soldiers; at the same time, like the paper poppies worn on Remembrance Day, they are a tribute from the living to the dead. The portrayal of the steel-helmeted soldiers rising from the cornfields extends the range of visual emblems used by Longstaff: the plentiful harvest; the harvest of men; the steel-helmeted crosses covering the graves of many soldiers; and the helmeted bayonets raised in cheer and victory.ww1, menin gate, wark vc club

(.1, .2, .7 .8) These are all in pencil with similar hand writing. The others are similar writing in pen and pencil. There are two “Georges”, George RICHARDSON and George HARGREAVES. Refer Cat No 4003.3P for their photos. refer Cat No 3996P re “Lena” and other cards, photos that were in a collection relating to her.(.1) Postcard, colour showing a bouquet of flowers, bow with “forget me not” in the left hand corner. Letter is written in black pencil addressed to “Dear Lena from your friend George, Jan 7th 1916”. (.2) Postcard, colour showing floral arrangements with a blue silk bow attached on the right hand side, cerrated edging with gold lettering which appears to be “Ste Barb”. On the rear in black pencil, “To Lena with love from George, Jan 7th 1916. (.3) Postcard B & W showing a lake scene in oval shape at top with a poem under titled “Evertrue”. On the rear written in black pen addressed to “Dear Lena”, signed off “I remain your ever loving friend George, Friday March 17th 1916”. (.4) Postcard, colour showing a women seated at a table holding a bouquet, vase of roses on table. On rear in black pencil addressed to “Dear Lena”, signed off “love to all George, France 9th October 1916”. (.5) Silk postcard, colour showing a scene with 2 dwellings, trees, mountains in the background, under in silk knitted “A Merry Xmas”. On the rear in black pen, “To dear cousin Lena”, signed off “From your loving cousin George, France 31st October 1916”. (.6) Postcard B & W showing a large building in rear with a German plane centre, gun and carriage titled “war trophies taken from the Germans”. On the rear in black pen addressed to “Dear Lena”, signed off “With love to you all George, 2 Nov 1916 France”. (.7) card, folding, colour, Rising Sun at top, flags centre with “57th Battalion AIF” under then “Xmas 1916”. A small bow in red and black attached. Inside printed “With best wishes from your boys in France”. In black pencil addressed to “Lena”, signed off “With best love George, Nov 13 1916”. (.8) Postcard, silk showing 3 red flowers hanging with a scroll underneath with the wording in gold, “Sincere friendship” On the rear in black pencil addressed to “Dear Lena”, signed off, “Your ever loving friend George, 17.8.1917 France”. (.9) Postcard, colour showing portrait of a women in a blue dress with 3 bouquets of flowers on her front. On the rear in black pen addressed to “Dear Lena”, signed off, “With best love and kisses, yours George Hargreaves, France April 11th 1918”.postcards, ww1