Auction Catalogue. Two copies of an auction catalogue for antique furniture and furnishings at 'Lancewood House', McLaren St. Bendigo. Contents of 18 rooms. Auction held over 3 days, May 31 to June 2. 1949. Auctioneers Bishop & Earl and Curnows (Bendigo) Prop. F. C .Dyett. Home once owned by Ernest Mueller. Catalogue includes 4 B & W photos of 3 rooms. Copy 'a' - Handwritten in ink on the first page 'Lydia Chancellor, Taraxville, Golden Square. Selling prices written against most items. 5 press cuttings re the auction are loose inside front cover. Copy 'b' - selling prices typed in against most items.Bishop and Earl, Curnows ( Bendigo)cottage, miners, lancewood house, auction, ernst mueller, bishop & earl, curnows (bendigo), lydia chancellor

This leather case holder for a general purpose Multi-meter( KVHS 0307 (A)) was manufactured after 1950 and used by the SEC Vic (Kiewa Hydro Electricity Scheme) from that date until late 1900's. It was used to measure very small voltages associated with the operation of the various Hydro Generators. The readings were able to be shown by the resistor in use in the current circuit. During this time period, high quality testing instruments were either sourced from Europe or England. This particular carry case was manufactured in the Netherlands. This carry case for an analog General Purpose multi-meter which is quite a large (for a handheld mobile) apparatus.The bag however permits the easy monitoring of electrical variations within the large SEC Victoria Hydro Scheme's electrical generators. These generators are powered by the hydro force of "stored" water at a higher altitude. The establishment of both the NSW and Victorian Hydro schemes was achieved from the mid 1900's to the 1960's. At this point in time the need for additional power sources to quench both an industrial and domestic demand for electricity was purely an economic and not and environmental (carbon reduction) factor. This hydro scheme was instigated by "the Government of the day" as a bold move and was the major force of the World War II refugee and "technical" workforce inclusion of skilled and unskilled migration into the Australian environment. Although this mass "invasion" of workers with families was thought of in some circles as intrusive, the expansion of population post war years and its integration into the Australian rural sector, produced the multi- lingual multi-cultural diversity of later years.This leather case is to provide protection for this mobile G.P. Multimeter, therefore it is made from thick leather. It has a carrying strap from a thick "D" chromed link. This link is fastened to the main cover by a looped leather strip with a black coloured rivet. All the fasteners are either chrome or black coloured rivets. The front, which when opened back exposes fully the inside of the case. It is clip fastened to the lower section of the front piece which also can be pushed back allowing the meter to be removed from the frontal position. There is a strip retaining strap slightly higher from the mid point. This is fasted by a black press stud. There are two "L" shaped tin protrusions allowing the meter to slide only down the case until it rests on these shelves. This provides for an empty space for minimal storage,.On the front bottom and below the clasp is a tag "STATE ELECTRICITY COMMISSION OF VICTORIA TRANSMISSION DEPT."sec vic kiewa hydro scheme, alternate energy supplies, alpine population growth

This strong, heavy bank safe was made by W. Marr in London. It was formerly owned by the ANZ Bank in Portland, Victoria. Portland’s ANZ Bank was originally a branch of the Bank of Australasia, which first came to Australia in 1835, opening in Sydney. Portland’s Bank of Australasia began in a bluestone building built on the north corner of Julia and Bentinck Streets by stonemason William Robb in 1855, around the time of Australia’s Gold Rush. Eventually, in 1951, the Bank of Australasia merged with the Union Bank to become the Australia & New Zealand Bank, known as the ANZ. Portland’s branch of the Bank of Australasia then moved into the old Union Bank building at 44 Percy Streets; both bank buildings were built around the same. The maker of this safe, W. (William) Marr, obtained a patent in 1834 for what is believed to be the first fire-retarding patent, building this into the lining of strong boxes. Others made further design improvements such as hardening the metal plates used to make the boxes. In about 1840 Thomas Milner, a Sheffield tinsmith, made the earliest safes that could safely protect their contents from a surrounding fire. This was achieved by including tubes of a substance between the inner and outer walls of the safe that would react to the heat and the contents would put the fire out. In 1851 an Exhibition at London’s Crystal Palace included fire-proof safes from different vendors. William Marr was listed under Fireproof Box Makers in the 1842 London Trades Directory, at 33 Broad Street, and 52 Cheapside. William Marr & Son were appointed to supply Her Majesty’s National Debt Office and other departments in 1860, with the address 9 Walbrook, Vulcan Safe Works, Skin Yard, Bankside, Southwark, London. 1n 1870 the address for William Marr listed under Safe Makers and Agents in the London Trades Directory was 67 Cannon Street. The manufacturer, W Marr, is significant as an inventor of a way to make a strong box fireproof, then patented his secure safe. This invention indicates that security of money was of great importance in the mid-1800s as it continues to be today. The secure safe would have given much comfort to those with investments and savings, as well as to the bank itself, the custodian of other people's money. This safe was made in London and exported to colonial Australia, giving significance to the safe as an item that was high in the list of the needs of the early Australians and their businesses. The safe has local historical significance as it was used by the original Bank of Australasia in Portland, which was built in 1855 and went on to become the ANZ Bank, still in operation today. The bank was an integral part of the establishment and growth of commerce in Colonial Victoria.Safe; heavy metal bank safe, painted green. Double doors each have top and bottom external hinges, and two front panels; the top panels are arched. The thick doors have five sliding locks. Inside is a fixed metal compartment with a locked sliding metal drawer, and several fitted shelves plus some temporary removable shelving. Both doors have a decorative brass knob near the centre opening. Left door has an oval artificial keyhole and a space where another fitting has been attached. The right door has a second brass knob and an oval keyhole. The top panels of the left door has an oval plaque with an inscription; the right door has evidence that there was an oval attachment. Made by W. Marr, London.Text embossed on plaque: "W. MARR / PATENTEE & MANUFACTURER / 52 / /CHEAPSIDE / LONDON" flagstaff hill, warrnambool, shipwreck coast, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, great ocean road, shipwreck artefact, safe, bank safe, vault, security, finances, anz bank, portland bank, w marr, william w marr, financial institution, savings, gold exchange, loans, investments, safety, safe maker, lock maker, iron box, strong-room

The donor inherited this Wardana machine from her mother, who bought it in about 1933 and used it to sew garments for her sister's dressmaking business in Frankston, Victoria. The donor often used this machine until she purchased an updated model. There were originally three Ward Brothers who owned the North Melbourne sewing machine business but they had a falling out. This machine's decals on the map of Australia only include the two remaining brothers. The Ward Brothers, G & S Ward, established their sewing machine business in North Melbourne in 1888. The cabinets and ironwork of the machines were made in Australia and the Ward Bros. imported their machines from overseas manufacturers in England, America and Germany. The assembled machines were sold under brand names that included Ward, A.N.A. the patriotic-sounding Australian Sewing Machine Company. The "Wardana" was one of their brands.This sewing machine was fabricated in Australia from imported parts from England, giving a snapshot into the early manufacturing industries that were operating at the time just after Federation.Sewing machine in a wooden cabinet with iron foot-operated cast iron treadle mechanism. The hinged cabinet top opens out to form a worktop. The sewing machine lifts out of the cabinet to sit level with the worktop, resting on two supports within the cabinet. The lockable cabinet door opens from right to left revealing fitted shelves and spikes for spools and bobbins. The gold-painted maker's name is cast into the black treadle. The machine has its original instruction book, oil can, and eighteen accessories in an enclosed cardboard box. The round shallow oil bottle has a rubber dispensing tube. Colourful decals decorate the black body of the machine. Inscriptions include a Serial Number stamped on the bed of the machine. The Wardarna Central Bobbin machine was made in England for the Ward Brothers of North Melbourne.TREADLE: cast into metal ACROSS THE TOPE AND ON THE FOOTPLATE "WARD", "WARD" SERIAL NUMBER stamped into oval plate "28383" DECAL: (Map of Australia ) with images of [two brothers] , "WARDANA" above (logo of the rising sun) DECAL: (Decorative floral design with heraldic-like emblems) above "MADE IN ENGLAND" ARM: "WARDANA" PEDESTAL: "C.B." (representing Central Bobbin) "MADE IN ENGLAND" "MADE IN ENGLAND / FOR / WARD BROS / NORTH MELBOURNE" BOOK TITLE: "Instructions for Treadle Machine" ACCESSORIES: some have indecipherable embossed stamps OIL BOTTLE base: (image of log and short lines radiating from a central inscription (indecipherable)sewing machine, domestic, wardana, ward bros., central bobbin, made in england, north melbourne, c.b., flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, treadle sewing machine, home industry, clothing, dressmaking, clothing manufacturer

There is a brass plaque that states: THIS PLAQUE IS IN MEMORY OF DORA CHAPMAN daughter of William and Estelle Chapman CALLED HOME WHILE PLAYING THE ORGAN ON THE OCCASION OF THE 30TH ANNIVERSARY OF THE SILVAN CHURCH. SEPTEMBER, 27TH 1936 DORA WAS A SISTER TO MR ERNEST CHAPMAN On another plaque it states: THIS ORGAN WAS A WEDDING PRESENT TO ERN AND BERYL CHAPMAN AND WAS DONATED TO MONT DE LANCEY IN THE YEAR 1994 BY MAVIS, BOB, LES AND ALBERT CHAPMAN The organ was a present from Mr Ernest Chapman and his bride on the occasion of their wedding on October 26th 1927. The organ was made in Meriden Connecticut USA by Wilcox and White in 1885. A date inside the organ indicates that it was last tuned June 16th 1900. A highly decorated, delicate ornate carved wooden pump organ with a round mirror set back into the front panel. It has a sheet music rest or shelf with an opening lid to store sheet music inside the cupboard. There are two side shelves with five knobs on each at the front. It has a keyboard with thirteen stops below. Next to the key stops above the keyboard is gold lettering with 'Wilcox & White Meriden. Connecticut. USA.There are two brass patterned pump foot pedals below: the left one has 'WILCOX' stamped on it, the right pedal has '& WHITE' stamped on it and the metal is damaged from use. There are two carved levers underneath the keyboard: the left one has a sticker saying "Grand Organ", the right one's sticker says, "Knee Swell". There is no stool.The brass covered left foot pump pedal has 'WHITE' stamped on it, the right pedal has '......' stamped on it. There are two carved levers underneath the keyboard: the left one has a sticker saying 'Grand Organ', the right one's sticker says, 'Knee Swell'. The manufacturer : WILCOX AND WHITE is printed in gold letters on ......The thirteen 'stops' all have different musical terms printed in a sticker. e.g...............parlour organs, cabinet organs, harmoniums, pump organs

Professor Arthur Barrington (Barry) Baker was the first Australian anaesthetist to gain a DPhil in anaesthesia. He completed his DPhil at Oxford University at the Nuffield Department of Anesthesia in 1971, titled, Physiological Responses to Artificial Ventilation. The Waveform Ventilator is the machine developed to illustrate his DPhil. The waveform ventilator was used in several scientific studies on 'the effects of varying inspiratory flow waveforms and time in intermittent positive pressure ventilation (IPPV)', published in the 'British Journal of Anaesthesia'. Professor Arthur Barrington Baker had an extensive career in research and clinical practice including holding the position as the Nuffield Professor of Anaesthetics at Sydney university (1992 - 2005) and also as the Dean of the Australian and New Zealand College of Anaesthetists (ANZCA) (1987-1990).The variable waveform ventilator is of national significance, due to its association with Professor Arthur Barrington Baker (Prof. Baker) the first Australian academic anaesthetist, and the representation of historical social themes and research and design, in anaesthesia. Historic significance – It is a rare type of ventilator in good condition and well provenanced. It is a tangible record of the beginning of the long established and distinguished career of Prof. Baker, the first anaesthetist in Australia to gain a DPhil. Prof Baker has a strong involvement in the Australian and New Zealand College of Anaesthetists (ANZCA) organisation. The object is a product of Prof Baker’s Doctorate of Philosophy (DPhil) on respiratory physiology and is associated with the prestigious Oxford University and the well-known Nuffield Department of Anaesthetics. It also represents the social theme of migration to England from Australia in the 1960s and 1970s to access and experience academic and artistic opportunities limited in Australia at the time. Scientific Value – The object is of scientific value as it offers major potential for education and interpretation in anaesthesia. Although ventilators are common equipment, this specific design and construct prototype is one of a kind, designed and used specifically for research purposes. A rectangular shaped object on a trolley with four wheels. The top half of the object consists of two panels, one of cream coloured painted wood, the other black plastic, both containing several dials of different shapes and sizes. The wood surface also contains several gauges and a safety pressure clear plastic box. The plastic surface also contains a pin board. The bottom half of the object consists of two shelves. The whole object's perimeter is lined with perforated metals. The top wooden surface has several metal pieces of equipment and a long tube. The rear of the object contains numerous types of tubing and wire, a gas cylinder and two leather straps with buckles. The bottom half of one side of the objects has 3 electrical power outlets.Waveform Generator, Drs Colliss N Cowie, Dr Baker Dr Murray Willson, Dr Babbington, Safety Pressure, Error POS F/B, Position, Feedback, Set Balance, Reset, Full Stroke, Velocity, Converter Current, line Pressure, Low Pressure, Bias Pressure, Start, Stop, Stop, Reset Press, Max Press, W/G Output, A/CRO B/2.baker, arthur barrington, baker, barry, professor, academic anaesthetist, oxford university, nuffield department of anaesthesia

The ring was made for the donor by her father in Camp 3, Tatura. The Wied family were settled in Palestine upon the beginning of WWII. Being of German nationality, they were considered a threat to security by Allied forces & were interned in temporary camps, before being shipped to Australia. In Australia they were interned in Camp 3, Tatura, a family camp for enemy nationals. Many of the internees came with few possessions. This item is just one of the handmade domestic items fashioned in the camp from largely scrap materials to give some home comforts in the initially barren surroundings of the camps, particularly to those interned with families and young children. Small brown metal ring, with a small heart soldered to the ring. camp 3, tatura, world war ii, internment camps

Norway, around 1840, was the first country to produce and use glass fishing floats. Many of them can still be found in local boathouses. Christopher Faye, a Norwegian merchant from Bergen, is credited with their invention. The earliest floats, including most Japanese glass fishing floats, were handmade by a glassblower. Recycled glass, especially old sake bottles in Japan, was typically used and air bubbles/imperfections in the glass are a result of the rapid recycling process. Glass floats have since been replaced by aluminum, plastic, or Styrofoam. Today most of the glass floats remaining in the ocean are stuck in a circular pattern of ocean currents in the North Pacific.By the 1940s, glass had replaced wood or cork throughout much of Europe, Russia, North America, and Japan. Japan started using the glass floats as early as 1910. Now they are still highly sought after as decoration.A glass float with intact knotted rope net attachedfishing, floats, glass floats

George Tibbits, University of Melbourne. Faculty of Architecture, Building and Town & Regional PlanningIndex system that support the research for Beechworth : historical reconstruction / [by] George Tibbits ... [et al]Arranged by street names of BeechworthEach index card includes: street name and number of property, image of property, allotment and section number, property owners and dates of ownership, description of the property according to rate records, property floor plan with dimensions.beechworth, george tibbitsbeechworth, george tibbits

This 1890 document contains the will and probate papers of Benjamin Charles Jewell who died in 1889. English-born Benjamin Jewell was a Warrnambool stonemason who was the licensee of the Steam Packet Hotel (later Lady Bay Hotel) from 1883 to 1889. His executors were Christopher Beattie, a Warrnambool undertaker and James Tallent, manager of the Warrnambool Corporation Yards. Benjamin Jewell left his estate of property, household furniture and cattle to his wife, Ellen Jewell. The solicitor, Ernest Chambers, had his office in Kepler Street with Thomas Goodall, a legal clerk, managing this office. Tait collection: item 9 of 62This document is of interest because of its contents - the will and probate of Benjamin Jewell, a Warrnambool businessman of note in the 19th century - and because of its lawyer, Ernest Chambers, also well-known in Warrnambool at that time. This is a piece of parchment folded in two with a seal of the Supreme Court of the Colony of Victoria attached by a blue ribbon. The writing in handwritten in brown ink. One page is blank. There is some pencil writing at the top left hand corner. Apart from some discolouration the document is in good condition.‘13/9 E.J.W. Chambers, 7241’benjamin jewell, ernest chambers

This plaque was erected in the Williamstown Sailors' Rest, the former skating ring in Thompson Street. It's one the three memorials to Ethel Godfrey with the stained glass window in the St Peter chapel in the Central Institute (See 0064.2) ) and the optus sectile plaque in the 1888 Port Melbourne Institute (See 2053) . This plaque was moved to the Nelson Place building when the Mission purchased the E,S&A Bank in 1943. In 1982, the plaque ws removed from the Williamstown mission along with 4 other plaques, objects and furniture to furnish the chapel of the new Flagstaff Maritime Museum. The transfer of the 5 plaques was requested in 2020 and they returned to the Mission's collection in 2022.The plaque along with the two other memoriels erected in the memory of Ethel Godfrey demonstrates the gratitude for the her 30 years of work.Rectangular plaque for Ethel Augusta Godfrey ethel augusta godfrey 1861-1935, williamstown, thompson street, seamen's mission, sailors' rest, flasgstaff maritime museum, lhlg

John Kendrick Blogg was a woodcarver and furniture maker who lived and worked in Surrey Hills in the early 1900s. He is particularly well-known for his WW1 memorials and honour boards, the most significant of which is The Shrine in the Surrey Gardens. Others are found at Surrey Hills Primary School and in local churches. There is also one in this collection. It was made for the Surrey Hills Bowling Club, of which Blogg was a keen member. It came to the collection when the club closed in the mid-1990s. Blogg was also known for his poetry. He wrote many poems about roses, WW1 and Surrey Hills. His papers are held in the NLA collection.Coloured 6 page folded up catalogue made of light card paper.woodcarvings, john k blogg, mornington peninsula regional gallery exhibition, narelle russo

The photograph was taken at an Ithacan Philanthropic Society annual picnic sometime in the late 1920s or early 1930s. Races were always a feature at the annual picnic. In those early most families travelled to the picnic ground in hired furniture vans. The annual picnic is still held today in February of each year. Pictured standing L-R: ? Kasamias; unknown; Nick Kandiliotis; Andreas Razos; unknown; unknown; unknown; Spiros Digaletos; Paizis?; Dimitri Megalogenis; unknown; Paris Gabriel; Kallinikos ?; unknown; unknown; Gerasimos Papadopoulos (Tsinis); Stratos Paizis; Cominos (Bourazanis)?; Kneeling: Nikos Stratos; Platon Varvarigos. The annual picnic gave Ithacans the chance to relax and mingle away from their work on Sunday. It was and still is an important social event in the society's calendar.A scanned black and white photograph seventeen men standing in a line and two others crouched down in the front. They are either preparing to have a race or they have completed one as four of them are wearing shorts and singlets while some of the others have rolled up their trouser legs and a lot of them are wearing running shoes. The group are standing in a picnic ground in a valley which is surrounded by trees.

Some very early tables were made and used by the Ancient Egyptians around 2500 BC, using wood and alabaster. They were often little more than stone platforms used to keep objects off the floor, though a few examples of wooden tables have been found in tombs. Food and drinks were usually put on large plates deposed on a pedestal for eating. The Egyptians made use of various small tables and elevated playing boards. The Chinese also created very early tables in order to pursue the arts of writing and painting, as did people in Mesopotamia, where various metals were used. The Greeks and Romans made more frequent use of tables, notably for eating, although Greek tables were pushed under a bed after use. The Greeks invented a piece of furniture very similar to the guéridon. Tables were made of marble or wood and metal (typically bronze or silver alloys), sometimes with richly ornate legs. Later, the larger rectangular tables were made of separate platforms and pillars. The Romans also introduced a large, semicircular table to Italy, the mensa lunata. Plutarch mentions use of "tables" by Persians. Furniture during the Middle Ages is not as well known as that of earlier or later periods, and most sources show the types used by the nobility. In the Eastern Roman Empire, tables were made of metal or wood, usually with four feet and frequently linked by x-shaped stretchers. Tables for eating were large and often round or semicircular. A combination of a small round table and a lectern seemed very popular as a writing table. In western Europe, the invasions and internecine wars caused most of the knowledge inherited from the classical era to be lost. As a result of the necessary movability, most tables were simple trestle tables, although small round tables made from joinery reappeared during the 15th century and onward. In the Gothic era, the chest became widespread and was often used as a table. Refectory tables first appeared at least as early as the 17th century, as an advancement of the trestle table; these tables were typically quite long and wide and capable of supporting a sizeable banquet in the great hall or other reception room of a castle. https://en.wikipedia.org/wiki/Table_(furniture)The table is one of the most important items of furniture used in the home, including the kitchen.Table wooden with 4 wooden turned legs and unvarnished raw wood topNone flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, table, kitchen furniture

The Eltham Court House is Eltham's oldest public building. It was classified by the National Trust in 1977. In 1857 five Eltham residents petitioned the licensing magistrates of the Heidelberg district asking for better police protection, including from itinerant gold prospectors who turned to crime when their quest was unsuccessful. In response the Eltham Courthouse was constructed in 1860. Over the years it has also been used for other activities, including for electoral polling purposes, inquests, early meetings of the Eltham Roads Board and even as an overflow classroom. This type of localised solution is characteristic of the self-reliance preserved in Eltham today. The court house is an important symbol of the spirit which makes Eltham distinctive as a community. The Eltham Courthouse is historically significant because its construction was intended to emphasise the centralised control over law and order in the Colony of Victoria in the wake of the 1852 Snodgrass committee report on the Victorian police force and the resulting Police Regulation Act (1853). The nature of the Court House planning and use of architectural devices make the building's function easily interpreted. The arrangement of rooms, with public entry and clerical rooms to the rear, and the use of raised floor levels throughout these spaces to signify relative rank is easily perceived. The distinction in entries, public, magistrate and person-in-custody, and the existing court furniture enhances appreciation of this building. The Eltham Court House is one of only two intact examples in the state of this simple design with projecting entry. The building is of architectural significance because it retains intact early features. These include use of handmade bricks, simple decoration, roof trusses, timber ceiling boards, original windows, doors and associated hardware and a collection of court furniture. Additions to the court house have been done in a manner which did not interfere with the fabric of the original building. Typical cases heard before the Court of Petty Sessions included financial debt, straying livestock, theft, assault, drunkenness, public disorder, truancy, motor vehicle offences, unregistered animals and failing to have children attend school, or be vaccinated. The courthouse operated for over 120 years before it closed in 1985. In April 2021, Nillumbik Shire Council authorised restoration of the building and furnishings. The extensive works required for the total restoration of this highly valued heritage building was undertaken by Ducon Building Solutions and other specialist contractors. Covered under Heritage Overlay, Nillumbik Planning Scheme. Victorian Heritage National Trust of Australia (Victoria) State significance Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p65 A demand for better police protection resulted in the building of the Eltham Courthouse and the police residence beside it. In 1857 five Eltham residents petitioned the Heidelberg district licensing magistrates. They pointed out that Eltham had two hotels, a population of about 1000, and many strangers employed on the public roads. Yet the nearest police were at Heidelberg eight miles (12.8km) away, or at the Caledonia Diggings 21 miles (33.7km) away.1 Subsequently the courthouse and then the police residence, near the corner of Main Road and Brougham Street, were built in 1859/60. The courthouse is Eltham’s oldest public building and the National Trust classified it in 1977. It ceased operation in 1984 and has since been used by local groups. There are only six other known examples of similar small brick country courthouses in Victoria . For £536, a Mr Duncan built the courthouse – a neat, narrow, oblong building with handmade orange bricks. Its gabled roof and porch are covered with brown slate tiles and it has 12-paned windows. Inside, the roof is peaked and the courthouse is still ventilated by oblong slits near the ceiling. Most of the fine carved timber and upholstered furniture is original. The original prisoners’ door, now permanently closed, led from the police station to the dock. Builders, Langridge Wright and Witney built a timber police station (since demolished) and a brick residence to its north,2 for £1150/7/-. Built around the same time were the lock-up behind the residence, also later demolished, and the two-storey orange brick stables. The former police residence also has a brown slate roof and handmade bricks. The front veranda roof is made of corrugated iron, as is the roof of the back weatherboard extension. The application for police protection was approved within a few months and police operated from a cottage rented at ten shillings a week and owned by William Jarrold. This was probably the one at the corner of Main Road and Dalton Street called Jarrold or White Cloud Cottage. In 1858 a second constable was appointed to Eltham following a fight at the hotel. The timber police office a replica of which was built in the early 1990s is at the building’s side. The lock-up was demolished following the relocation of the police to a new station in about 1952. The residence has been used as the Eltham District Historical Society centre since 1997. Records show court cases were held at Eltham before the courthouse was built, but the location is unknown. Some court cases were not very different from those today. In 1891 a man was charged with being drunk while in charge of a horse and was fined ten shillings. The courthouse was used for other purposes during its long history. It was probably used as a polling place as indicated by old photographs of election-day crowds outside. The Eltham Road Board met there from the early 1860s until 1868 when the Board transferred to Kangaroo Ground. During the same period the Road Board Secretary used the courthouse as an office until 1867 when it was transferred to his home at Wingrove Cottage. The courthouse was also used as an overflow classroom for the Dalton Street school in 1875. The two buildings can further link us with Eltham’s early days through Police Department correspondence. The first constable-in-charge was George Reid. In 1860 a letter to The Argus newspaper signed ‘A Sufferer’ declared the Eltham police were not active enough in their duties. The writer suggested that the ‘very snug’ police quarters were too comfortable, and he detailed various incidents including one of an alleged break-in to the Road Board Secretary’s home. But the Board Secretary, C S Wingrove, wrote to the Police Department refuting The Argus letter saying he had received full co-operation from Sen. Constable Peter Lawler.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, eltham court house, main road

This building at 21 Brougham Street, Eltham, known previously as The Light Factory, now Second Home restaurant, was designed by Alistair Knox and is one of the few commercial buildings he designed. It was a combined residential (rear) and factory (front) development. The Light Factory Gallery; OnlyMelbourne "The Light Factory Gallery was built in 1973 and is a classic example of his design. Exposed soaring six metre Oregon beams, handmade bricks, clerestory windows flood the building with natural daylight giving treetop views of the eucalypts that he designed the building around." The Light Factory Gallery. (2024, March 31). Retrieved from https://www.onlymelbourne.com.au/the-light-factory-galleryjim connor collection, brougham steet, eltham, alistair knox design, industries, restaurants, second home, the light factory gallery

Owned at the time by architect, Ian Jelbart, the property had been in the Jelbart family since the 1940s; a 5560sqm secluded hilltop parcel in Eltham. When the manor house and its barn were built, Eltham was a rural community; Jelbart’s grandfather Ronald was a businessman whose poultry farm formed part of the family’s original 100ha holding. A portion would later be subdivided into residential lots to make way for new homes that would form the basis of the Woodridge Estate in the early 1970s. The Barn was developed as a residence by Ian Jelbart in the late 1960;'s. Handmade mud bricks were used in its construction. This is a view from The Barn looking towards the Manor HouseDigital file only; created from scan undertaken by EDHSarthur street, eltham, houses, jelbart barn, jelbart property, kinloch gardens, verandah, mud bricks, enclosure

This was the uniform of junior girls from the 1960s until the new campus for secondary students began at Truganina in 1978. Shortly after the opening of the secondary campus a new dress, green in colour, was adopted for all girls. This summer uniform dress, donated by a past parent, was handmade and worn by a prep student in 1977. It is a rare example of the school dress from this period. Together with a dress pattern and a sample of the same fabric donated by another past parent, these items have historic significance and interpretive capacity. Current students enjoy learning about how different the provision of school uniforms was not so long ago, as Westbourne uniforms can now be ordered online.Small belted dress in blue checked pattern with white collar and sleeve cuffs and three white buttons down the front.

Black and white photograph: Queen Victoria memorial procession, Alexandra Fountain, Pall Mall. Parade of military and band personnel. Large crowds watching. Flags on Beehive building and Shamrock Hotel at half mast. 3 trams next to Fountain. 3 horse drawn vehicles in foreground with occupants watching parade. In image on windows ' Abbot's ' ' Henderson & Goodison/Beehive/Furniture & Drapery' ' ? Hill/Tailor/Outfitter' ' No7/Co-operative/… ? ' Yankee Doodle/…' K.W. Van Damme/Havelock' ' Melbourne Cash Store ' Clock shows '2.50 ' ' J./.Ree…..' ' Emery & Gibson' On back top right corner, 'MP 255' Pre. Acc no. MP 255. Card index ' Queen Victoria, Memorial Procession Bendigo.'bendigo, streetscape, pall mall

Bright yellow auction catalogue with black printing for a sale on 18th June, 1996 for the City of Greater Bendigo, AH Plant, Surveyor General & Others at Strathfieldsaye Depot, Strathfieldsaye. For sale were Earth moving equipment, tractors, 3 P/L equipment, caravans, various mowers, chippers,shredders, brush cutters, trailers, scrap, tools, Surveyors equipment, office furniture & computer equipment, drums of bitumen and R/C concrete drains. J. H. Curnow & Son P/L were the auctioneers. Map of how to get to auction site inside front cover. Loose pink Supplementary List, account Coliban Water listing backhoe/F.E. loaders, tractor, tipper crane and 4WD wagon listed.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction catalogue - the city of greater bendigo, ah plant, surveyor general & others, darryl young, ian dyett, j h curnow & son p/l, coliban water, noel dyett, fred dyett

This broken, handmade black glass bottle was made around the mid 1800s. The bottle was found in the coastal waters of Victoria about 100 years from when it was made. It is now part of the John Chance collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late-1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to be made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body was blown, the glass blower continued blowing free-form (without the mould) to form the shoulder and neck, then the base was pushed up with a pontil tool, and the finish for the mouth was added. The dip mould gives the body a slightly textured surface, with the free blown shoulders and neck usually looking smoother and shinier. A horizontal line can often be seen around the shoulder where the mould of the body meets the free-blown shoulder. A lump or mark in the centre of the base, called a 'ponty' mark (named after the pontil tool), is also common on this type of bottle. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 1800s. (Similar bottles were recovered from the 'Loch Ard' shipwreck, lost in 1898.) The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle, thick black glass (dark olive) with matt surface. Mouth has been broken off, leaving sharp edges. Short neck, wide shoulders, body tapers slightly inwards towards base. Wide uneven heel and deep concave base with a fold line in glass. No visible seams.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, bottle, black glass, antique bottle, handmade, mouth blown, blown bottle, liquor bottle, ale bottle, 19th century bottle

This broken black glass bottle has been handmade from about the 1840s to 1870s. The bottle, possibly used to store ale or soda or mineral water, was found in the coastal waters of Victoria. It is part of the John Chance Collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late 1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a three piece dip mould with a cylindrical base and two removable neck pieces. The molten glass was blown into the mould to give the body a uniform symmetrical shape and size. After the bottle was blown, the glassblower removed it from the mould then the base was pushed up with a pontil tool that gave it the concave shape. The finish for the mouth was added by hand or with another tool to form the ring collar. The mould gives the body a slightly textured surface. There is usually a line around the shoulder and on the sides of the neck where the mould meet, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. Although this bottle is not linked to a particular shipwreck, it is recognised as a historically significant example of handmade, 1840s to 1870s beverage bottles imported for use in Colonial Victoria. The bottle is also significant for its association with John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several shipwrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, black glass. Mouth is broken off. Roughly applied ring collar. Bottle has shoulder seam and two neck seams. Heel is uneven, base is concave with tool mark. Glass has crease lines, a drip and imperfections. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, collectable, bottle, dip mould, soda bottle, ale bottle, beverage bottle, black bottle, three pece mould

This broken black glass bottle has been handmade from about the 1840s to 1870s. The bottle, possibly used to store ale or soda or mineral water, was found in the coastal waters of Victoria. It is part of the John Chance Collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late 1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a three piece dip mould with a cylindrical base and two removable neck pieces. The molten glass was blown into the mould to give the body a uniform symmetrical shape and size. After the bottle was blown, the glassblower removed it from the mould then the base was pushed up with a pontil tool that gave it the concave shape. The finish for the mouth was added by hand or with another tool to form the ring collar. The mould gives the body a slightly textured surface. There is usually a line around the shoulder and on the sides of the neck where the mould meet, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. Although this bottle is not linked to a particular shipwreck, it is recognised as a historically significant example of handmade, 1840s to 1870s beverage bottles imported for use in Colonial Victoria. The bottle is also significant for its association with John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several shipwrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, black glass, 'gallon' style. Applied broken lip, wide collar. Shoulder seam, two side seams, body tapers inwards towards base. Concave base. Glass has bumps, creases and imperfections.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, collectable, bottle, dip mould, soda bottle, ale bottle, beverage bottle, black bottle, three pece mould

These booklets come from the estate of Brue Morris, editor of the Warrnambool Standard from 1946 to 1968. He was an important historian in Warrnambool, writing many historical articles for the Standard newspaper during his editorship and after his retirement. He kept files and other material on many topics related to Warrnambool’s history and Heatherlie was one of these. Heatherlie is a site in Koroit Street Warrnambool occupied by flats for the elderly. The name comes from the name of the original property owned by the Warrnambool furniture maker and seller, E.B. Phillips. Heatherlie Homes is a project established in 1979 under the auspices of the Methodist Church in Warrnambool and today the project is operated by a Uniting Church committee. These two booklets are of historical interest detailing the establishment of Heatherlie Homes in Warrnambool and the history of the property and its buildings in 1981. The booklets are useful to researchers..1 This is a booklet of 8 pages with black print on a buff-coloured background. The cover has a sketch of the proposed Heatherlie project. The booklet has plans, sepia-coloured photographs and information for donors. There are two loose flyers re the appeal. .2 This is a booklet of 22 pages. It has an orange cover with reproductions of the building opening plaque and a Uniting Church statement. The booklet contains historical facts about Heatherlie and the Uniting Church and reports on Heatherlie’s progress. It also has several black and white photographs. heatherlie homes, warrnambool, bruce morris, warrnambool standard editor, warrnambool uniting church

Dressing tables have been around since the beginning of the seventeenth century. However, it wasn't until the early to mid-20th century that middle-class homes included them in their furniture. They were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery trinket boxes, trays and pin bowls or pin trays. The latter were small shallow containers used for storing hat pins, hair pins, safety pins, and perhaps earrings. They were made of various materials including glass, metal and ceramic.This pin bowl represents an era in the early-to-mid 20th century when matching dressing table accessories were popular and affordable to middle-class women. They were marketed as gifts and sometimes included perfumed soap and powder.Pin dish, round, cut glass, slightly convex sides without a pattern. Thick heavy, concave base with a concertina fold pattern.flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table, dressing table tray, glass tray, pin tray, pin bowl, dressing table accessory

Dressing tables have been around since the beginning of the seventeenth century. However, it wasn't until the early to mid-20th century that middle-class homes included them in their furniture. They were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery trinket boxes, trays and pin bowls or pin trays. The latter were small shallow containers used for storing hat pins, hair pins, safety pins, and perhaps earrings. They were made of various materials including glass, metal and ceramic.This pin bowl represents an era in the early-to-mid 20th century when matching dressing table accessories were popular and affordable to middle-class women. They were marketed as gifts and sometimes included perfumed soap and powder.Pin bowl; a light weight, round bowl with straight sides featuring a cut glass pattern, and a flat base with a star design.flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table, dressing table tray, glass tray, pin tray, pin bowl, dressing table accessory

Fred Ward, better known for his work with Myer Heritage, Patterncraft and the ANU, began making furniture in the late 1920s for his own house in Heidelberg. An early client was the sophisticated and progressive Maie Casey, who in 1932 furnished the rented Gwynn house in Canberra in a radically austere style, with Michael O'Connell textiles, Ward's monastically simple waxed timber designs and imported steel tubular chairs. Maie Casey's patronage proved enduring and influential. The RDA’s collection shows designs and details of bespoke pieces commissioned by Lord Casey for government offices, including the Department of External Affairs, during his political and vice-regal career. Catriona Quinn, 2017 furniture, design, canberra, rmit design archives, myer, anu

Toolbox, made by Salvation Army Brigadier Warren Trestrail (1895-1971), during the Great Depression from recycled kerosene tins and packing boxes. It proved to be a useful piece of furniture as the family moved around Australia during various postings within the Australian States and Territories. In World War II, Warren Trestrail embarked with the first convoy of soldiers from Australia to the Middle East and served as Salvation Army welfare officer through the Libyan campaign, at Tobruk, and in Greece. In 1942, it was announced that Salvation Army war services at Darwin would be placed under his direction. He had previously been in charge of South Australian war activities. The item was donated to the Society in 2001 by Sadie Trestrail, who had been a teacher at Kew East Primary School for many years. It is a fine example of vernacular furniture made of recycled materials .Depression-era toolbox constructed from recycled kerosene tins and parts of wooden packing boxes. The five tin drawers are made of sections of kerosene tins with handles soldered to the centre of each new drawer. A number of drawers have separators constructed of tin or aluminium. The wooden planks encasing the the drawers are covered with a degraded shellac coating. An analysis of the interior indicates that the brand names of the original parts are largely extant. furniture - recycled - depession era - 1930s, great depression - 1930s - australia, warren trestrail, salvation army, vernacular furniture

William Turner, a Scottish born free-lance designer, who was contracted to GP&J Baker, painted the image on which the design was based in 1918. Turner had trained as a furniture designer before leaving for London in the 1890s, where he rose to prominence as an Arts & Crafts designer. The bird that gives this design its name is adapted from Robert Havell’s ‘A Collection of Birds of Paradise’, published in 1835, and was a favourite of Victorian chintz designers.“Paradise Bird” has been in continuous production since its creation. The hand-block print, of which these curtains are an early example, was supplemented by a version engraved on copper rollers in 1962, and was updated onto screens in 1982. The curtains have significance to the collection because of their intrinsic value and for the link to one of the historic mansions in the City of Boroondara. The curtains by G.P & J Baker of London use one of the exemplary designs in this manufacturer’s output. The first use of the design was in 1918, following the Great War, and the design is said to reflect the hope for peace which was a feature of the postwar years. The curtains are an early example of the Paradise Bird design, and were block printed. A pair of curtains originally situated in one of the front reception rooms of 'Tourmont' in Balwyn Road, Balwyn (now Fintona Girls’ School). The fabric in the curtains was manufactured by the English firm of GP&J Baker. The textile design is variably named as ‘Paradise Bird’ or more recently, ‘Hydrangea Bird’. Turner’s bird perches in a blossoming branch directly above a woodpecker, which is an attribute of Mars, god of war. Thus the design reads as a symbolic statement where War is reversed and Paradise returns (a hopeful message at the end of WWI). “Paradise Bird” has been in continuous production since its creation. . curtains, fabric design, historic buildings