This external horn is part of an Edison Fireside Phonograph made in c.1909. The horn was attached to the machine when in use. The rings on the side of the horn allowed the horn to be suspended above the machine. The narrow opening on the horn was attached to the sound outlet on the machine and the conical shape of the horn amplified the sound. The horn was suspended to allow a clear sound. This was done by attaching the ring fitted to the outside of the horn to a chain or chord, which in turn was attached to a curved wire fitted to the phonograph machine. The phonograph machine was invented by Thomas Alva Edison in the late 19th century. Edison adapted the idea used when sending messages over a telegraph machine. He patented the phonograph in early 1878. The phonograph was able to record sound and play it back sound. This amazing invention opened up a whole new world of entertainments, where wax cylinders of pre-recorded sound could be purchased with a wide variety of music and played over and over. The first wax cylinders were white and used a combination of bees' wax and animal fax or tallow. By 1892 Edison was using 'brown wax' cylinders that ranged from cream through to dark brown. The Edison Phonograph Company was formed in 1887 to produce these machines. He sold the company in 1855 to the North American Phonograph Company but bought that company in 1890. He started the Edison Spring Motor factory in 1895 and then the National Phonograph Company in 1896. In 1910 the company became Thomas A. Edison Inc. In 1898 Edison produced the Edison Standard Phonograph, the first phonograph to carry his own trade mark. He began mass producing duplicate copies of his wax cylinders in 1901 using moulds instead of engraving the cylinders. The wax was black and harder than the brown wax. The ends of the cylinders were bevelled so that the title's label could be added. The last phonograph machine to use an external horn was produced in 1912 due to the much more robust records being invented. In 1913 Edison started producing the Edison Disc Phonograph. The company stopped trading in 1929. [NOTE: a phonograph machine plays cylinders, a gramophone plays records]This Edison external phonograph horn is significant for its connection to the c.1909 Edison Fireside phonograph model. The phonograph machine brought a new era of music into the homes of everyday people but was only popular for a few decades due to the growing popularity of records, which gave a much higher quality sound and were more robust.Phonograph horn; open horn, a conical shape with the lower part flaring out. The horn's shape on the opening half is octagonal, made from eight joined sheets of metal with a scalloped finish at the opening. The narrow end is hollow and ready to fit onto a phonograph outlet. There are two rings attached together on the side of the horn, perhaps for storing on a hook. The inner surface of the horn has remnants of deep red paint. This horn is from the Edison Fireside phonograph. (There is a mark on the outside of the horn where the Edison brand would be)flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, gramophone, phonograph, music player, entertainment, audio equipment, edison, thomas a edison, horn, phonograph horn, amplifier, audio, sound recording, sound playback, phonograph machine, external horn, edison phonograph company, wax cylinders, edison spring motor factory, national phonograph company, thomas a. edison inc, phonographic cylinder, sound reproduction

Clothing. High stand-up embroidered net collar-close fitting to the neck, and fastening at the back with now 4 metal hooks and loops (one hook missing) and edged at top and bottom with tiny black beads. Five metal ''curved wires'' 7 cm long, are spaced around the up right ''collar'' (to hold in place). The embroidered net forms a V shaped panel at the centre front, and has 15 silk covered oval buttons .8 cm long, from throat to lower bodice. This panel is bordered by embroidered and beaded braid, 7 cm wide and giving a cross-over effect. Cotton tape inside waist 66 cm long fastens with two metal hooks and eyes.Under this lace cross-over, the bodice is shirred and pleated, to give fullness for movement. Pleats are ''caught-in'' at the waistline. An elbow length over-lay of sheer silk fabric, edged with the beaded braid. The sleeves are silk fabric to the elbow, and then narrow in to a three hook plackett at the wrist. This lower sleeve with a 2.5 cm lace frill, and a spotted tulle fabric, and ''dotted'' at the upper side with a double row of tiny black beads. A false tucked effect at opprox knee level at back of skirt. Back hemline extends to a small ''train''. Hemline is heavily weighted.costume, female, full length long sleeved black dress

Visit to Dunmoochin prior to Clifton Pugh's home being destroyed by fire in 2002. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire.fay bridge collection, 1995, barreenong road, cottles bridge, dunmoochin

A coping saw is a type of hand saw used to cut intricate external shapes and interior cutouts in woodworking or carpentry. It is widely used to cut mouldings to create coped rather than miter joints. It is occasionally used to create fretwork though it is not able to match a fretsaw in intricacy of cut, particularly in thin materials. Coping saw blades are always thicker and much coarser cutting than typical fretsaw blades. A coping saw consists of a thin, hardened steel blade, stretched between the ends of a square, c-shaped, springy-iron frame to which a handle is attached. The blade is easily removed from the frame so that the blade can be passed through a drilled hole in the middle of a piece of wood. The frame is then re-attached to the blade and the cut starts from the middle of the piece. Long cuts perpendicular to the edge of the material are possible but the shallow depth of the frame rather limits how far from the edge one may cut. The much deeper frame of the fretsaw is more useful for cutting well away from the edge but conversely cannot manage the thicker materials commonly cut by the coping saws. The coping saw blade is installed with the teeth pointing towards the handle. Unlike a hacksaw, which has the teeth pointed away from the handle, the coping saw cuts on the pull stroke. The coping saw blade is removable by partially unscrewing the handle. The blade is prevented from rotating by means of the short, steady bar provided where the blade is attached. Loosening the handle also allows the blade to be rotated relative to the frame as desired. Carefully aligning the finger steady bars at the top and bottom of the blade ensures that the thin blade is straight and not twisted along its length. Re-tightening the handle tensions the blade and locks it at the desired angle relative to the frame. The short steady bar nearest the handle is held securely between finger and thumb while the handle is tightened to ensure the blade remains at the desired angle. Unlike the fretsaw the coping saw blade has holding pins which lock securely into the angled slots of the rotatable blade holders. Gentle curves are achieved by slowly turning the whole frame by means of the handle while continuing to cut steadily. A coping saw with wooden handle but no bladetools, saws, steel , clamps, metalwork, woodwork, carpentry, early settlers, pioneers, market gardeners, moorabbin, bentleigh, cheltenham, fretsaw, coping saw, bowsaw, blacksmiths,

As quoted from Wikipedia, ‘An anvil is a block with a hard surface on which another object is, struck. The block is as massive as it is practical, because the higher the inertia of the anvil, the more efficiently it causes the energy of the striking tool to be transferred to the work piece’. The lightstation’s anvil is a red-painted iron block with a conical beak or horn at one end that was used for hammering curved pieces of metal. It would have stood on a heavy free-standing pedestal, such as a large tree stump, to allow complete access to the item being hammered. Some anvils display the manufacturer’s name in the metal on the side, but this is not the case here, and its age, although unknown appears to be quite old, perhaps c.1900. It appears to have had a lot of use, and although no record of this survives, it is presumed that a forge operated on site for hammering, cutting, shaping and repairing tools such as bolts, nails, hooks, chain segments, pulley blocks, hinges, crow bars, picks, chisels, horseshoes and harness hardware. A hames hook (which forms part of the collar worn by a draught horse) survives at the lightstation as do many other heavy metal tools and pieces of equipment. The anvil is an example of the necessary resourcefulness and self sufficiency practiced by lightkeepers working and living in a remotely located workplace and home, and many of the iron items in the collection may have been repaired or even made on its working surface. As a lightstation manager Chris Richter used the anvil to manufacture pulley blocks for sash windows, repair brass door hinges & sharpen cold chisels, crowbars and picks and other lightkeepers have used this anvil for many fabricating jobs such as manufacturing ducting for the generator room ventilation system."The lightship only came in every three months with supplies and there would have been repairs to do between visits from a blacksmith - who would have had to travel on the ship. Also, the ship was only anchored in the bay long enough to unload supplies and collect and deliver lightkeeping staff – probably not enough time to get much smithy work done – especially if the weather packed it in and the ship had to depart. Lightkeepers in our time had to be self sufficient, resourceful and innovative and I imagine that would have been the case in the past." It has second level contributory significance.Red painted blacksmith's anvil.

The clock was either made or sold by T. Gaunt & Co. of Melbourne, a manufacturer, importer and retailer of a wide variety of goods including jewellery, clocks and watches, navigational and measuring instruments, dinnerware, glassware and ornaments. Thomas Gaunt photograph was included in an album of security identity portraits of members of the Victorian Court, Centennial International Exhibition, Melbourne, 1888. Thomas Gaunt History: Thomas Gaunt established Melbourne's leading watchmaking, optical and jewellery business during the second half of the 19th century. Gaunt arrived in Melbourne in 1852, and by 1858 had established his own business at 14 Little Bourke Street. Around 1869 he moved to new premises in Bourke Street on the corner of Royal Arcade, Gaunt's shop quickly became a Melbourne institution. Gaunt proudly advertised that he was 'The only watch manufacturer in the Australian colonies'. While many watches and clocks may have had Gaunt's name on the dial, few would have been made locally. Gaunt did make some watches for exhibitions, and perhaps a few expensive watches for wealthy individuals. Gaunt's received a telegraph signal from Melbourne Observatory each day to correct his main clock and used this signal to rate and repair ship's chronometers and good quality watches. His main horological manufacturing was directed at turret clocks for town halls, churches and post offices. These tended to be specific commissions requiring individualised design and construction. He made the clock for the Melbourne Post Office lobby, to a design by Government Astronomer Robert Ellery, and won an award at the 1880-81 Melbourne International Exhibition for his turret clock for the Emerald Hill Town Hall. He became well known for his installation of a chronograph at Flemington Racecourse in 1876, which showed the time for the race, accurate to a quarter of a second. The firm also installed the clockwork and figures for Gog and Magog in the Royal Arcade. Thomas Gaunt also developed a department that focused on scientific instrumentation, making thermometers and barometers (from imported glass tubes), telescopes, surveying instruments and microscopes. Another department specialised in electroplating for trophies, awards and silverware, and the firm manufactured large amounts of ecclesiastical gold ware and silverware, for the church including St Patrick's Cathedral. There are no records that disclose the number of employees in the firm, but it was large enough for Gaunt to hold an annual picnic for the watchmakers and apprentices at Mordialloc from 1876; two years previously they had successfully lobbied Gaunt to win the eight hour day. Gaunt's workforce was reportedly very stable, with many workers remaining in the business for 15 to 30 years. Gaunt's wife Jane died on September 1894, aged 64. They had one son and six daughters, but only three daughters survived to adulthood. Two became nuns at the Abbotsford Convent and one daughter, Cecelia Mary Gaunt (died 28 July 1941), married William Stanislaus Spillane on 22 September 1886 and had a large family. Gaunt died at his home in Coburg, Victoria, leaving an estate valued at ₤41,453. The business continued as T. Gaunt & Co. after his death. Post Office and Clock History: Warrnambool’s Post Office has been in existence since 1857, when it was originally situated on the corner of Timor and Gilles Street. In March 1864 the Warrnambool Borough Council purchased this clock from Henry Walsh Jnr. for the sum of £25, “to be put up in front of the Post Office”. Henry Walsh Jnr was the eldest son of Melbourne’s Henry Walsh, maker and retailer of clocks, watches, thermometers and jewellery. In 1854 Henry Walsh Jnr. began business in Warrnambool as a watchmaker and jeweller later becoming a Councillor with now a local street named after him. The Post Office was extensively remodelled in 1875-76. Early photographs of this building show that the clock was installed on the northern outside wall, Timor Street, under the arches and between the 2 centre windows, where it could be seen by passers-by. Although spring loaded clocks date back to the 15th century, and fob and pocket watches evolving from these date to the 17th century, personal pocket watches were only affordable to the very fortunate. Public clocks such as this Post Office clock provided opportunity for all to know the time, and for those in possession of a personal watch to check and set their own timepieces to the correct time. During post office reservations during the 1970s the clock was removed and was eventually donated to the Flagstaff Collection. The Clock’s maker Thomas Gaunt, is historically significant and was an established and well renowned scientific instrument and clock maker in Melbourne during the 1860s. He was at that time the only watchmaker in the Australian colonies. In the 1870’s and 1880’s he won many awards for his clocks and was responsible for sending time signals to other clocks in the city and rural areas, enabling many businesses and organisations to accurate set their clocks each day. Warrnambool Borough Council purchased this clock from Henry Walsh Jnr. for the sum of £25 and the clock used to stand in front of the Warrnambool post office to allow ordinary citizens to set their time pieces as they walked by. The item is not only important because it was made by a significant early colonial clock maker and retailed by a locally known clock maker and jeweler but also that it was installed in the Warrnambool Post Office a significantly historical building in it's own right. Built in 1857 and regarded as one of the oldest postal facilities in Australia, with a listing on the National Heritage Database, (ID 15656). This 1864 hall clock originates from the Warrnambool Post Office. The clock glass is hinged to the top of the clock face and has a catch at the bottom. The metal rim of the glass is painted black. The clock face is metal, painted white, with black Roman numerals and markings for minutes and five minutes. The tip of the small hour hand is shaped like a leaf. "T. GAUNT / MELBOURNE" is printed in black on the clock face. The winding key hole is just below the centre of the clock face. The key winds a fusee chain mechanism, attached to the brass mainspring barrel that powers the pendulum with an 8-day movement. The speed of the clock can be adjusted by changing the position of the weight on the pendulum, lengthening or shortening the swing; raising the pendulum shortens its swing and speeds up the clock. The metal fusee mechanism has an inscription on it. The rectangular wooden casing is with a convex curve at the bottom that has a hinged door with a swivel latch. The original stained surface has been painted over with a matte black. There are two other doors that also allow access to the clock’s workings. The case fits over the pendulum and workings at the rear and attaches to the clock by inserting four wooden pegs into holes in the sides of the case then into the back of the clock. A flat metal plate has been secured by five screws onto the top of the case and a hole has been cut into it for the purpose of hanging up the clock. There is a nail inside the case, possibly used for a place to the key."T. GAUNT MELBOURNE" is printed on the clock face. “6 1 3” embossed on the back of the fusee mechanism behind the clock. warrnambool, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, shipwrecked artefact, clock, warrnambool post office, fusee, henry walsh jnr, thomas gaunt, t gaunt & co, post office clock

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

Comb bound (white plastic) specification or tender document, approx. 70 pages, with glossy card covers, titled "Tender Schedule for All-Electric Trams" and "Contract 2500", published by the Melbourne and Metropolitan Tramways Board, closing Monday 2 October 1972. Details the conditions of tender, conditions of contract, notes, specification, gives background information about Melbourne, dimensions, performance, drivers and conductors, trucks, wheels, brakes, electrical equipment, control panels and drawings. The drawings give a map of the system, typical city route, Glenferrie Road route (grade diagram), concrete track construction, min. radius curves, loading gauge, all-electric tram and mounting details for the trolley base, schedule of prices, tender form, form of contract, schedule of information to be provided by the tenderer. On the inside of the cover is a memo from D. Snell, Deputy Chairman to the Testing Engineer, dated 11/7/1972 about the tender being issued, but requesting least publicity and all enquiries to Mr. Snell. Part of the work to tender for the construction of Z class trams. Document scanned to pdf file word searchable. See Item 4388 for the Z3 document and 1583 for an August 1966 version and Reg item 4667 for a draft June 1965 version. 2nd copy added 7/8/2020 from Keith Kings papers.In in pencil in the top right hand corner of cover "1975" crossed out and "1972" written in. On first sheet in pencil, "Howard Smith" and "Laboratory 10 Feb 1975" stamped on.trams, tramways, specification, tenders, z class, mmtb, melbourne

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. https://vhd.heritagecouncil.vic.gov.au/places/43737 - re 26 Kambrook Road and 345 Balaclava Road corner building: A prominently situated two-storeyed complex of late Victorian buildings consisting of "Wybar's Buildings" occupying the Balaclava Road/ Kambrook Road corner and the "Caulfield Bakery" facing Kambrook Road, separated by a driveway from a single storeyed shop. The main building has a comer splay and balustraded parapet with curved pediments, the words "Wybar's Buildings 1887" having been obliterated but "Caulfield Bakery 1887" with the characteristic wheatsheaf surviving in raised cement work. The walls are stuccoed and richly ornamented with bracketed cornices and keystones with masks extending to the Bakery. The main building is further distinguished by the Masonic symbol of the mason's dividers in the pediment whilst the upper level of the bakery is in overpainted brickwork. The single storeyed shop incorporates the bracketed cornice and consoles characteristic of the main buildings and is in other respects a utilitarian structure. https://vhd.heritagecouncil.vic.gov.au/places/35413 - re 16 Kambrook Road A small late Victorian Italianate villa distinguished by its parapeted window bays either side of a small verandah with encaustic tiled floor. The parapets are balustraded with console enrichment and glazed tiles, the stuccoed surfaces being unpainted. Ornamentation is in other respects undistinguished. https://www.gleneira.vic.gov.au/services/planning-and-building/heritage/heritage-management-plan - re 9-11 Kambrook Road ... they demonstrate most of the commonly employed aesthetic devices characteristic of the Italianate Style including patterned brickwork, patterned slate roofs, cast iron lace verandahs, ornamental stucco work and ashlar boards...https://vhd.heritagecouncil.vic.gov.au/places/43737 - 345 Balaclava and 26 Kambrook Roads HO91 in City of Glen Eira "Wybar's Buildings" at the corner of Balaclava Road and Kambrook Road are important as a prominent late Victorian commercial development incorporating a variety of activities including a bakery and possibly a coffee palace, the latter understood to be unique within the municipality, but characteristic of the period. It is a rare complex of its type in Caulfield and is important also as evocative evidence of the late Victorian Land Boom and the creation of a small now defunct commercial centre at this location by the George Wybrow. https://vhd.heritagecouncil.vic.gov.au/places/35413 - 16 Kambrook Road HO121 in City of Glen Eira ''Hollywood'' at 16 Kambrook Road is of architectural interest for its pavilions which retain their unpainted parapets and ornamental tiles in the manner of other less imposing examples in the immediate locality possibly linked with the builder George Wybar and his son, who undertook substantial projects nearby. Its association with James Yorston, presumably is Yorston of Dickson and Yorston, important builders and estate developers at Caulfield during the Inter war period is of interest. https://www.gleneira.vic.gov.au/services/planning-and-building/heritage/heritage-management-plan - re 9-11 Kambrook Road HO152 Normanby Road/Kambrook Road, Caulfield North Statement of Significance: The Precinct is historically significant for its capacity to demonstrate standards of design and building construction in this part of the municipality during the late Land Boom years and especially just prior to the bank collapse of 1891. The housing stock is representative of the standards of amenity excepted by the middle classes of Melbourne society at the time, including artists, (horse) trainers, jockeys, managers, travellers, journalists and the like, also having a functional link with the activities of the Caulfield Racecourse which forms an important element in the history of the Municipality. The row of attached pairs at 5-11 Kambrook Road and 53-67 Kambrook Road is especially significant in this respect in that the narrow allotments are indicative of the owner/developer’s determination to maximise profits at the height of the Land Boom in 1891...Page 104 of Photograph Album with four photographs (landscape) of three different properties on Kambrook Road.Handwritten: Kambrook Road [top right] / WYBAR'S BUILDING 1887/ INC CAULFIELD BAKERY / [under top right photo] / 16 KAMBROOK ROAD / 1970 HIRST MRS J.N.[under bottom left photo] / 11-9 KAMBROOK ROAD / 1970 9-BUCKLAND MRS L.A / 11- ATKINS MRS N.E. [under bottom right photo] / 104 [bottom right]trevor hart, kambrook road, victorian, caulfield north, parapets, wybar's buildings 1887, caulfield bakery 1887, architectural features, painted bricks, balaclava road, victorian italianate style, houses, bay windows, verandahs, glazed tiles, shops, george wybar, builders, james yorston, dickson and yorston, j n hirst, l a buckland, n e atkins, patterned slate roofs, patterned bricks, cast iron work, attached houses

This page of photographs is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. First 2 images: milkbar and residence corner Kambrook and Balaclava Roads ie south west corner - building named Airdrie 3rd image: https://vhd.heritagecouncil.vic.gov.au/places/43737 - re 26 Kambrook Road and 345 Balaclava Road corner building ie south east corner: A prominently situated two-storeyed complex of late Victorian buildings consisting of "Wybar's Buildings" occupying the Balaclava Road/ Kambrook Road corner and the "Caulfield Bakery" facing Kambrook Road, separated by a driveway from a single storeyed shop. The main building has a comer splay and balustraded parapet with curved pediments, the words "Wybar's Buildings 1887" having been obliterated but "Caulfield Bakery 1887" with the characteristic wheatsheaf surviving in raised cement work. The walls are stuccoed and richly ornamented with bracketed cornices and keystones with masks extending to the Bakery. The main building is further distinguished by the Masonic symbol of the mason's dividers in the pediment whilst the upper level of the bakery is in overpainted brickwork. The single storeyed shop incorporates the bracketed cornice and consoles characteristic of the main buildings and is in other respects a utilitarian structure. 4th image: https://vhd.heritagecouncil.vic.gov.au/places/42415 (on 24/01/2021) - 196 Kambrook Road An imposing late Victorian poly-chrome brick asymmetrical villa with corner verandah and projecting west facing wing with faceted window bay to the facade. Body bricks are red and relieved by cream and black brick banding and by cream bricks to the bracketed eaves. The fretted barge with king post treatment and timber posted verandah are unique in the Municipality and unusual in the metropolitan area and demonstrate an understated appreciation of the emerging Queen Anne mode.345 Balaclava and 26 Kambrook Roads HO91 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/43737 (on 24/01/2021) "Wybar's Buildings" at the corner of Balaclava Road and Kambrook Road are important as a prominent late Victorian commercial development incorporating a variety of activities including a bakery and possibly a coffee palace, the latter understood to be unique within the municipality, but characteristic of the period. It is a rare complex of its type in Caulfield and is important also as evocative evidence of the late Victorian Land Boom and the creation of a small now defunct commercial centre at this location by the George Wybrow. 196 Kambrook Road HO122 - City of Glen Eira https://vhd.heritagecouncil.vic.gov.au/places/42415 "Glencoe" is situated at no. 196 Kambrook Road, Caulfield North and was built for the boot manufacturer, Robert Bruce Mair, in 1888. It is of historic and aesthetic significance. It is historically significant (Criterion A) as the home of an inner suburban industrialist, notable a boot manufacturer, demonstrating the attraction of Caulfield as a residential location for the manufacturers of the metropolis during the late Victorian Boom period. It is aesthetically significant (Criterion E) as a very early example of a Queen Anne influenced late Victorian villa, comparing at the State level with ''Woodlands'' (1888), North Essendon, generally acknowledged to be one of Australia's earliest houses to fully exploit this emerging style. The ornamental timberwork is especially expressive of the new architectural fashion and compares with the house at 33 Clarence Street, Elsternwick (1888-89).Page 105 of Photograph Album with two photographs of a milk bar and attached residence, one older photograph of Wybar's Building and another photograph of a house on Kambrook Road (all are landscape).Handwritten: 196 KAMBROOK ROAD / 1970 - GAFFNEY MRS S.M. [under bottom right photo] / 100 [bottom left]trevor hart, kambrook road, victorian style, caulfield north, parapets, wybar's buildings 1887, caulfield bakery 1887, architectural features, painted bricks, balaclava road, george wybrow, shops, milk bars, airdrie, polychrome bricks, verandahs, queen anne architectural style, houses, glencoe, robert mair

Steamer trunks (named after their location of storage in the cabin of a steamship, or "steamer") which are sometimes referred to as flat-tops, first appeared in the late 1870s, although the greater bulk of them date from the 1880–1920 period. They are distinguished by either their flat or slightly curved tops and were usually covered in canvas, leather or patterned paper and about (36 cm) tall to accommodate steamship luggage regulations. Steamer trunks were originally called a cabin trunk. An orthodox name for this type of trunk would be a "packer" trunk, but since it has been widely called a steamer for so long, it is now a hallmark of the style. A trunk, also known as a travel trunk, is a large cuboid container designed to hold clothes and other personal belongings. They are most commonly used for extended periods away from home. Trunks are differentiated from chests by their more rugged construction due to their intended use as luggage, instead of storage. Among the many styles of trunks, there are Jenny Lind, Saratoga, monitor, steamer or Cabin, barrel-staves, octagon or bevel-top, wardrobe, dome-top, barrel-top, wall trunks, and even full dresser trunks. These differing styles often only lasted for a decade or two and along with the hardware can be extremely helpful in dating an unmarked trunk. Although trunks have been around for thousands of years in China and elsewhere, the most common styles seen and referred to today date from the late 18th century to the early 20th century when they were supplanted in the market by the cost-effective and lighter suitcase. There were hundreds of trunk manufacturers in the United States and a few of the larger and well-known companies were Rhino Trunk & Case, C.A. Taylor, Haskell Brothers, Martin Maier, Romadka Bros, Goldsmith & Son, Crouch & Fitzgerald, M. M. Secor, Winship, Hartmann, Belber, Oshkosh, Seward, and Leatheroid. One of the largest American manufacturers of trunks at one point the Seward Trunk Co. of Petersburg, Virginia still makes them for school and camp, and another company Shwayder Trunk Company of Denver, Colorado would eventually become Samsonite. Another is the English luxury goods manufacturer H.J. Cave trading since 1839. Their Osilite trunk was used by such famous customers as T.E. Lawrence and Ruth Vincent Some of the better known French trunk makers were Louis Vuitton, Goyard, Moynat, and Au Départ. Only a few remain with the most prominent US company being Rhino Trunk and Case, Inc who probably manufacture more trunks than any company in the world.A snapshot into our social history regards how travel was undertaken over a hundred years ago and how people travelled so differently than today as they often packed for extended travel on ships. Travel then was so different with people having to pack a very large wardrobe of clothes to last for some time possibly for months overseas. The subject item looks like it was of military issue and was used for travel during the first world war by a military man from Victoria and was one of six similar trunks. This assessment is based on the type of locks used the trunk itself could have been made in America or Britain as the locks used in both countries came from American lock makers.Trunk wooden large covered with leather wood cleats and brass locks, also unreadable tableIn white paint "H Onvett, 6 of 7 and bottom right of front the number 6 (Owner)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, trunk

Steamer trunks (named after their location of storage in the cabin of a steamship, or "steamer") which are sometimes referred to as flat-tops, first appeared in the late 1870s, although the greater bulk of them date from the 1880–1920 period. They are distinguished by either their flat or slightly curved tops and were usually covered in canvas, leather or patterned paper and about (36 cm) tall to accommodate steamship luggage regulations. Steamer trunks were originally called a cabin trunk. An orthodox name for this type of trunk would be a "packer" trunk, but since it has been widely called a steamer for so long, it is now a hallmark of the style. A trunk, also known as a travel trunk, is a large cuboid container designed to hold clothes and other personal belongings. They are most commonly used for extended periods away from home. Trunks are differentiated from chests by their more rugged construction due to their intended use as luggage, instead of storage. Among the many styles of trunks, there are Jenny Lind, Saratoga, monitor, steamer or Cabin, barrel-staves, octagon or bevel-top, wardrobe, dome-top, barrel-top, wall trunks, and even full dresser trunks. These differing styles often only lasted for a decade or two and along with the hardware can be extremely helpful in dating an unmarked trunk. Although trunks have been around for thousands of years in China and elsewhere, the most common styles seen and referred to today date from the late 18th century to the early 20th century when they were supplanted in the market by the cost-effective and lighter suitcase. There were hundreds of trunk manufacturers in the United States and a few of the larger and well-known companies were Rhino Trunk & Case, C.A. Taylor, Haskell Brothers, Martin Maier, Romadka Bros, Goldsmith & Son, Crouch & Fitzgerald, M. M. Secor, Winship, Hartmann, Belber, Oshkosh, Seward, and Leatheroid. One of the largest American manufacturers of trunks at one point the Seward Trunk Co. of Petersburg, Virginia still makes them for school and camp, and another company Shwayder Trunk Company of Denver, Colorado would eventually become Samsonite. Another is the English luxury goods manufacturer H.J. Cave trading since 1839. Their Osilite trunk was used by such famous customers as T.E. Lawrence and Ruth Vincent Some of the better known French trunk makers were Louis Vuitton, Goyard, Moynat, and Au Départ. Only a few remain with the most prominent US company being Rhino Trunk and Case, Inc who probably manufacture more trunks than any company in the world.A snapshot into our social history regards how travel was undertaken over a hundred years ago and how people travelled so differently than today as they often packed for extended travel on ships. Travel then was so different with people having to pack a very large wardrobe of clothes to last for some times months overseas.Trunk rectangular with wood ribs and metal strips for reinforcing. Covered with canvas and has 3 locking devices. Also has leather handles at ends.On lock inscription Eagle lock Co.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

"In April 1969, the first major residential development in Melton began with the release of 148 homes for purchase. This was the first stage of a staggered release of a planned 30,000 homes for 100,000 people by 1990. The development, called Westmelton Satellite City, was described as ‘a preview of tomorrow’.101 It was the first estate built in a ‘modern’ style, with curved streets, and dozens of culs de sac. Westmelton was also the first major development in Victoria to build all the supply lines to the houses – including electricity and telephone lines – underground. The six different home designs in Westmelton were ‘specially designed for the future’, and with allotments ten feet wider than regulations required, there was plenty of ‘space for gracious living’ and for a family swimming pool. The developers of this new estate were active in promoting Westmelton as a new community within the Shire of Melton. By 1971, the Westmelton City News reported that Ian McIntosh, General Manager of Westmelton, had given away $100,000 on behalf of the company ‘to aid community projects’. This included a $72,000 donation towards building a community centre in Westmelton, and $25,000 for the shire’s Olympic-sized swimming pool. Ian McIntosh and his family moved to Melton and Ian said he was ‘very much aware of the needs of [the] Westmelton community’. By the end of 1971, Westmelton was home to 100 new families. The modern residences were obviously an appealing drawcard, but so was the country feel that characterised Melton. Mrs C. Allen, described as a ‘housewife’, said she and her husband chose to move to Westmelton because of ‘the quality homes ... and we both love the clean, fresh, natural environment that surrounds us’. Similarly, Mr W. Coxhead, insurance consultant, moved to Westmelton because of the ‘clean, fresh country air’. Accountant Mr B. Swanton echoed their sentiments, describing Westmelton as ‘far enough away from the industrial pollution carried over Melbourne suburbs by prevailing westerly winds’. The new development attracted an increasing number of young, professional couples and families, representing the beginning of a significant shift from the predominantly rural and farming community of the district’s past. The Westmelton development had four different ‘neighbourhoods’ designed to cater to a variety of different lifestyle needs. Westmelton was the first to be established, followed by Brookfield, which offered ‘superb land in a rustic setting’. Brookfield Acres offered ‘wide open spaces with lots of room for a pool and even a tennis court’ on huge one-acre blocks, while Westlake was an innovative development with ‘different sized homesites’ and ‘lakeside living’.Westmelton was the first of many residential developments that would come to play a huge role in shaping the shire in the decades to follow".A marketing brochure for the Westmelton Satellite City developmentlocal significant events, council

A bodice belonging to the family of George Ward Cole in the late 1800s. 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 hand sewn cream silk satin evening bodice from c.1865. This bodice features a very low, wide scooped neckline with a set in sleeve and four small pleats across the head of the shoulder. The elbow length, straight fitted sleeves are trimmed with a pleated ruffle that extends around the arm finishing at the elbow crease at the inside arm and tapering to mid forearm length at the back. The fitted bodice, lined with waxed linen, fastens down the centre front with eight covered buttons of the bodice fabric. The front two panels wrap around the sides of the bodice to meet another series of panels creating a princess line with a delineated central spine. The waist position is just below the natural waist at the sides, tapering to an elongated front covering the belly. From the sides towards the back it curves up to the natural waistline and then down again to a central point. The bodice is decorated with strips of the same fabric, which has been tucked, pleated and padded to create ruching. The ruching edge has a multi coloured thread, suggestive of rosettes, on both sides. In the front of the bodice, a strip runs down the centre front, concealing the buttonholes, and finishing at the elongated point. It then goes up the bodice over the bust line where it meets the neckline. It follows the neckline around the nape of the neck and back down the front over the bust line to the centre front. More strips run around the base of the fitted sleeve near the elbow above the ruffle. The rosette like coloured thread finishes the base of the ruffle. st ninians, george ward cole, bodice, late 1800s, brighton, margaret morrison ward cole

Miss Evans is the Director of Nursing of Royal District Nursing Service (RDNS). She and the group of RDNS Sisters are standing on the staircase inside RDNS Headquarters, 452 St. Kilda Road, Melbourne.The photograph on the right rear is of a full view of 452. They are wearing the new winter uniform of a blue/grey skivvie worn under a V neck tunic style herringbone winter material dress with the RDNS insignia on the upper left. Their beret style hats are made of the same herringbone material. Miss Evans is wearing her uniform of a grey blouse, and a skirt and long jacket made of the blue/grey herringbone winter material.From its earliest years when Melbourne District Nursing Society (MDNS) began to wear uniforms the chosen colour was grey, though the style changed throughout the years as fashions changed from the late 1800s through to the 1970s. Their Trained nurses (Nurses) firstly wore long grey frocks, and later a white collar, cuffs and white belt was added, and on their heads they wore a white cap with a long white tail hanging from the centre back. When bicycles were introduced in 1903 the headgear changed to a white pith helmet adorned with a red Maltese cross in the centre front. This was held on with a veil going over the hat and tied under the chin. Over the years there were complaints that the veils became wet in the rain and they asked for a change of uniform, but this did not happen until 1921. Twelve years later the Trained nurses (Sisters) complained their skirts became wet when riding their bicycles in the rain and asked, when raining, to be able to wear breeches and gaiters. This was granted provided they wore aprons when attending patients. It was not long before the uniform changed to a shorter length grey frock, red cardigan, grey coat and grey brimmed hat; later changed to a peaked grey hat. In 1966 MDNS were granted Royal patronage. Now as Royal District Nursing Service (RDNS), Sisters Liz Thomson and Bev Armstrong, in 1971, designed a new uniform and the colour was changed. By 1972 the Sisters were wearing the new winter uniform of a blue/grey skivvie under a V neck tunic style frock made of blue/grey herringbone winter material with the RDNS insignia on the upper left, and a beret style hat of the same material. In summer the uniform became a royal blue V neck tunic style frock, with the RDNS insignia on the upper left, worn over a short sleeve white blouse. A royal blue peaked hat with the RDNS insignia in the centre front was worn at first and then only worn on official occasions. This uniform was worn until changed to a corporate style in the mid 1980s,Black and white photograph showing Royal District Nursing Service (RDNS) Miss Mary Evans amid a group of RDNS Sisters standing down the steps of an internal staircase. They are wearing their new winter RDNS uniforms of a light grey skivvy under a V neck tunic style grey frock with the RDNS insignia on the upper left, and a beret style hat of the same material. Sisters from top to bottom:- P. Rowley, who is wearing glasses and has short dark hair, next down is F. Hoey, who has short dark hair and then in pairs L-R A. Tyler, wearing glasses and with dark curled hair and B. Watson, who has shoulder length blonde curled hair. Next down is B. McDonald with short dark hair and J. Peter, with curly dark hair. Next down is Miss Evans, who has short curled hair, On the next step down is V. Sheehan, who has short wavy blonde hair, down further is M. Gawith, who has short dark hair and is wearing below the knee black boots. and in front is M. Lambert who has short dark hair and has her hospital badge attached under the centre neck of her skivvy. The staircase has dark wooden turned balustrades topped with a matching curved handrail and below this is white woodwork. In the rear of the photograph part of a stained glass window can be seen and on the right is part of a large photograph. Photographer stamp. Quote No. LA 4melbourne district nursing society, mdns, royal district nursing service, rdns, rdns uniform, miss mary evans, sister pat (paddy) rowley, sister fonce hoey, sister a. tyler, sister barbara watson, sister betty mcdonald, sister judy peter, sister mary gawith, sister v. sheehan, sister m. lambert

File containing correspondence between the MMTB Chief Engineer Mr. Strickland and various companies, including Railless Ltd, Australian General Electric, English Electric / Dick Kerr and its UK consultants Heap and Digby between the period August 1922 and January 1923. Includes drawings, technical specifications and a book titled "AEC Railless Trolley Bus Specification", date stamped 15/8/1922. For a scan of this document see htd535-trolleybus.pdf (imaging not working correctly for this database as at 9-8-14) For a listing of the contents of this file and of Reg Item 535, see Related Documents - htd535-536list.pdf Item 535 - Trolley Buses Listed from top of file, in order found. Letters generally to/from MMTB Chief Engineer. Date Type, contents and notes 18/11/1922 Letter to Metro Vickers from Chief Engineer re Railless trams 12/1/1923 Letter to Aust GE re railless trams Not likely to proceed at this time. 11/1/1923 Letter from Aust GE Co. providing photographs, drawings, BTH, pamphlets, and general information. Includes photo of Tee-side trolley bus No. 17. No other papers with this item. 6/9/1922 Letter to Aust. GE asked for particulars and drawings of motor omnibuses These three items pinned together. 5/9/1922 Letter to Chief Engineer from Aust. GE provided up to date figures on BTH Railless vehicles. These three items pinned together. 31/8/1922 Letter to Aust GE returning folded of data in relation to petrol and petrol electric cars. These three items pinned together. 24/10/1922 Letter to Heap & Digby, thanks for information, but unlikely to use trolley buses due to poor road conditions where they could be used in terms of revenue. 14/9/1922 Letter from Heap & Digby, inclosing photos of Railless Ltd vehicles supplied to Bloemfontein South Africa and testing. These two items clipped together with drawing No. SK 14-8, showing Mexborough gradients. 28/8/1922 Letter from AEC to Heap & Digby re trolley buses, construction costs and practicality of shipping these to Aust. Includes the Mexborough test results. These two items clipped together with drawing No. SK 14-8, showing Mexborough gradients. 3/8/1922 to 31/10/22 Correspondence between MMTB and H&D regarding the Bloemfontein vehicles. Pinned together. 17/11/1922 Letter from Metro Vickers to MMTB providing details (no photos or drawings) of trolley buses – four pages. 18/1/1923 Letter to H&D thanking him for information and a paper ready by a Mr. Munro. 31/8/1922 Letter to Metro Vic – Melbourne asking whether Westinghouse had developed standard lines of motors for railless cars. 4/10/1922 Letter to Aust GE thanking for info. 2/10/1922 Letter from Aust GE providing two cuttings about railless vehicles in Birmingham and the cost of tram track construction. Papers Contained within a green strip of cloth. 26/9/1922 Letter from H&D providing info from EE – Dick Kerr Preston works equipment used by Railless Ltd. EE Specification for DK 26B Trackless trolley motors 18/9/1922 Letter from EE to H&D providing info on 20HP motors, 40HP, and other information. Blueprint – drawing 2810 – DK 26 Motor Performance curves for above motor Blueprint – No. 1312D – controller diagram Pamphlet – EE – tramcar Type D automatic circuit Breakers. Publication No. 230, dated 9/1920. Ditto, Form A, drawings No 3565, 1/1/19. Performance curves – blueprint – Type DK85A Blueprint – 4449 – outline of controller DK, Type D, form B. Blueprint – P2002M034 – DK85 Motor. EE specification for Traction Motor DK85 Modified from a tram motor. EE blueprint P2102F021, traction control wiring for form D controller. EE blueprint P2103F033 – outline of controller type SE1, form C and D. EE blueprint P2102Z011 – wiring diagram for type SE1 form controller. Performance curves for DK85A motor. EE blueprint – P2102F025 – diagram of connections (wiring) for Type SE1, form D controller. Blueprint – EE drawing – P2002M036 – DK85 motor with ball bearings. Single documents. Date Type Notes 27/9/1922 Letter to H&D acknowledging AEC Trackless trolley bus specification. 15/8/1922 Letter from H&D forwarding above specification String bound book – AEC Railless Trolley Bus Specification – stamped 15/8/22 Scanned as a separate document. 4/9/1922 Letter from Metro Vic. Melbourne advising that they have no information on Westinghouse Motors for use in railless cars, but seeking same.trams, tramways, trolley buses, melbourne, mmtb, aec, heap and digby, english electric, railless, dick kerr, general electric

This old footbidge is situated close to the shack that Gordon Ford built on the Yarra at Laughing Waters Road. Bernie Bragg also used to live there for a period of time. Gordon Ford and photographer Sue Winslow were married in 1965. They set up home in an old log cabin on the property Gordon had purchased in 1954 on Laughing Waters Road. Situated between the Yarra River and Overbank Road, Gordon had built a small mud-brick shack on the river and a pontoon. Over the decades the shack has been locally referred to as “the love shack”, the “rooting shack” or simply “Gordon’s shack”. Gordon and Sue commissioned local builder Graeme Rose to do a wattle and daub renovation and extension to the old log cabin on the north side of Laughing Waters Road. The work had only just been completed in 1965 when a bushfire swept through the area and destroyed the cabin. Gordon and Sue relocated to his property, Fulling, in Pitt Street, Eltham. In 1970 work started on a new house at the Laughing Waters property. Originally known as the Banana House, it is now known as Boomerang. Designed by Alistair Knox, the mud-brick house includes iron window grilles made by Matcham Skipper that puncture the curved mud walls. The grilles were made from ‘off-pressings’ from the Sidchrome tool works in Heidelberg. Gordon, Sue and family moved into the house in 1972. Their marriage fell apart and Sue moved to Sydney with the children around the same time Gordon commenced building Birrarung just below Boomerang on the Laughing Waters Road block. After the Fords moved out, Boomerang it was rented out to various share households of students, musicians, artists and environmentalists for twenty-four years. Gordon Ford sold Birrarung and Boomerang to Melbourne Water in 1999. The Laughing Waters Artist in Residence Program was developed as a partnership between Parks Victoria and Nillumbik Shire Council. Boomerang was deemed unfit for habitation so was used as a day studio only. By 2001 Boomerang was in a poor state of repair and by 2002 the last artist in residence was to use the house as a studio. Nillumbik Shire Council had been granted funds from the Melbourne Community Fund to restore both Boomerang and Birrarung but it was apparent in early 2003 that the funds would be insufficient to restore both houses. Boomerang was infested with termites which presented a risk to any occupants and so the decision was made to close Boomerang and concentrate funding on Birrarung. Boomerang was fenced off for safety and to prevent intrusion and remains ‘caged’ today (2023). However, it is readily apparent the property has been occupied by squatters over the years. By 2023 it was clear that the squatters had abandoned the property and sections of the roof structure have given away in some areas and collapsed internally. For a more in-depth description and history of the property and that of Gordon and Sue Ford, see Jane Woollard's book, "Laughing Waters Road; Art, Landscape & Memory in Eltham" published 2016.fay bridge collection, bernie's hut, birrarung, footbridge, gordon ford, gordon's shack, laughing waters road, love shack, yarra river

Gordon Ford and photographer Sue Winslow were married in 1965. They set up home in an old log cabin on the property Gordon had purchased in 1954 on Laughing Waters Road. Situated between the Yarra River and Overbank Road, Gordon had built a small mud-brick shack on the river and a pontoon. Over the decades the shack has been locally referred to as “the love shack”, the “rooting shack” or simply “Gordon’s shack”. Gordon and Sue commissioned local builder Graeme Rose to do a wattle and daub renovation and extension to the old log cabin on the north side of Laughing Waters Road. The work had only just been completed in 1965 when a bushfire swept through the area and destroyed the cabin. Gordon and Sue relocated to his property, Fulling, in Pitt Street, Eltham. In 1970 work started on a new house at the Laughing Waters property. Originally known as the Banana House, it is now known as Boomerang. Designed by Alistair Knox, the mud-brick house includes iron window grilles made by Matcham Skipper that puncture the curved mud walls. The grilles were made from ‘off-pressings’ from the Sidchrome tool works in Heidelberg. Gordon, Sue and family moved into the house in 1972. Their marriage fell apart and Sue moved to Sydney with the children around the same time Gordon commenced building Birrarung just below Boomerang on the Laughing Waters Road block. After the Fords moved out, Boomerang it was rented out to various share households of students, musicians, artists and environmentalists for twenty-four years. Gordon Ford sold Birrarung and Boomerang to Melbourne Water in 1999. The Laughing Waters Artist in Residence Program was developed as a partnership between Parks Victoria and Nillumbik Shire Council. Boomerang was deemed unfit for habitation so was used as a day studio only. By 2001 Boomerang was in a poor state of repair and by 2002 the last artist in residence was to use the house as a studio. Nillumbik Shire Council had been granted funds from the Melbourne Community Fund to restore both Boomerang and Birrarung but it was apparent in early 2003 that the funds would be insufficient to restore both houses. Boomerang was infested with termites which presented a risk to any occupants and so the decision was made to close Boomerang and concentrate funding on Birrarung. Boomerang was fenced off for safety and to prevent intrusion and remains ‘caged’ today (2023). However, it is readily apparent the property has been occupied by squatters over the years. By 2023 it was clear that the squatters had abandoned the property and sections of the roof structure have given away in some areas and collapsed internally. For a more in-depth description and history of the property and that of Gordon and Sue Ford, see Jane Woollard's book, "Laughing Waters Road; Art, Landscape & Memory in Eltham" published 2016.jim connor collection, laughing waters road, boomerang house, gordon ford

Gordon Ford built this shack on the Yarra at Laughing Waters Road. Bernie Bragg used to live there for a period of time. Gordon Ford and photographer Sue Winslow were married in 1965. They set up home in an old log cabin on the property Gordon had purchased in 1954 on Laughing Waters Road. Situated between the Yarra River and Overbank Road, Gordon had built a small mud-brick shack on the river and a pontoon. Over the decades the shack has been locally referred to as “the love shack”, the “rooting shack” or simply “Gordon’s shack”. Gordon and Sue commissioned local builder Graeme Rose to do a wattle and daub renovation and extension to the old log cabin on the north side of Laughing Waters Road. The work had only just been completed in 1965 when a bushfire swept through the area and destroyed the cabin. Gordon and Sue relocated to his property, Fulling, in Pitt Street, Eltham. In 1970 work started on a new house at the Laughing Waters property. Originally known as the Banana House, it is now known as Boomerang. Designed by Alistair Knox, the mud-brick house includes iron window grilles made by Matcham Skipper that puncture the curved mud walls. The grilles were made from ‘off-pressings’ from the Sidchrome tool works in Heidelberg. Gordon, Sue and family moved into the house in 1972. Their marriage fell apart and Sue moved to Sydney with the children around the same time Gordon commenced building Birrarung just below Boomerang on the Laughing Waters Road block. After the Fords moved out, Boomerang it was rented out to various share households of students, musicians, artists and environmentalists for twenty-four years. Gordon Ford sold Birrarung and Boomerang to Melbourne Water in 1999. The Laughing Waters Artist in Residence Program was developed as a partnership between Parks Victoria and Nillumbik Shire Council. Boomerang was deemed unfit for habitation so was used as a day studio only. By 2001 Boomerang was in a poor state of repair and by 2002 the last artist in residence was to use the house as a studio. Nillumbik Shire Council had been granted funds from the Melbourne Community Fund to restore both Boomerang and Birrarung but it was apparent in early 2003 that the funds would be insufficient to restore both houses. Boomerang was infested with termites which presented a risk to any occupants and so the decision was made to close Boomerang and concentrate funding on Birrarung. Boomerang was fenced off for safety and to prevent intrusion and remains ‘caged’ today (2023). However, it is readily apparent the property has been occupied by squatters over the years. By 2023 it was clear that the squatters had abandoned the property and sections of the roof structure have given away in some areas and collapsed internally. For a more in-depth description and history of the property and that of Gordon and Sue Ford, see Jane Woollard's book, "Laughing Waters Road; Art, Landscape & Memory in Eltham" published 2016.fay bridge collection, 2016-04, bernie's hut, birrarung, gordon ford, gordon's shack, laughing waters road, love shack, yarra river

Gordon Ford built this shack on the Yarra at Laughing Waters Road. Bernie Bragg used to live there for a period of time. Gordon Ford and photographer Sue Winslow were married in 1965. They set up home in an old log cabin on the property Gordon had purchased in 1954 on Laughing Waters Road. Situated between the Yarra River and Overbank Road, Gordon had built a small mud-brick shack on the river and a pontoon. Over the decades the shack has been locally referred to as “the love shack”, the “rooting shack” or simply “Gordon’s shack”. Gordon and Sue commissioned local builder Graeme Rose to do a wattle and daub renovation and extension to the old log cabin on the north side of Laughing Waters Road. The work had only just been completed in 1965 when a bushfire swept through the area and destroyed the cabin. Gordon and Sue relocated to his property, Fulling, in Pitt Street, Eltham. In 1970 work started on a new house at the Laughing Waters property. Originally known as the Banana House, it is now known as Boomerang. Designed by Alistair Knox, the mud-brick house includes iron window grilles made by Matcham Skipper that puncture the curved mud walls. The grilles were made from ‘off-pressings’ from the Sidchrome tool works in Heidelberg. Gordon, Sue and family moved into the house in 1972. Their marriage fell apart and Sue moved to Sydney with the children around the same time Gordon commenced building Birrarung just below Boomerang on the Laughing Waters Road block. After the Fords moved out, Boomerang it was rented out to various share households of students, musicians, artists and environmentalists for twenty-four years. Gordon Ford sold Birrarung and Boomerang to Melbourne Water in 1999. The Laughing Waters Artist in Residence Program was developed as a partnership between Parks Victoria and Nillumbik Shire Council. Boomerang was deemed unfit for habitation so was used as a day studio only. By 2001 Boomerang was in a poor state of repair and by 2002 the last artist in residence was to use the house as a studio. Nillumbik Shire Council had been granted funds from the Melbourne Community Fund to restore both Boomerang and Birrarung but it was apparent in early 2003 that the funds would be insufficient to restore both houses. Boomerang was infested with termites which presented a risk to any occupants and so the decision was made to close Boomerang and concentrate funding on Birrarung. Boomerang was fenced off for safety and to prevent intrusion and remains ‘caged’ today (2023). However, it is readily apparent the property has been occupied by squatters over the years. By 2023 it was clear that the squatters had abandoned the property and sections of the roof structure have given away in some areas and collapsed internally. For a more in-depth description and history of the property and that of Gordon and Sue Ford, see Jane Woollard's book, "Laughing Waters Road; Art, Landscape & Memory in Eltham" published 2016.fay bridge collection, 2016-07-22, bernie's hut, birrarung, gordon ford, gordon's shack, laughing waters, laughing waters road, love shack, yarra river

This sepia digital image shows the Austin car which was donated to the Melbourne District Nursing Society (MDNS) in !937 by the Rotary Club of Victoria. It was used by the Matron of the MDNS District Division to visit patients weekly. The photograph is taken outside the MDNS Headquarters at 39 Victoria Parade, Collingwood. The photograph appeared along with an article in The Age Friday May 7, 1937. The photograph appeared in the MDNS Annual Report of 1937. On page 8, mention is made of J.D Johnston Esq, President of the Rotary Club of Victoria, presenting the Austin vehicle to MDNS. Royal District Nursing Service (RDNS) has had various modes of transport over the last 130 plus years. At first, from 1885 as Melbourne District Nursing Society (MDNS), their Trained nurses (Nurses) walked the streets and lane ways amid the slums of central Melbourne. As the Society expanded public transport was used, and bicycles were bought by the Society in 1903 and used in inner areas until 1945. During the Spanish flu epidemic, in 1919, MDNS appealed for assistance to procure Motor vehicles so the Nurses could visit an influx of cases. Through trusts, grants and donations four 'Ford T Model' cars were procured which enabled the Nurses to triple their visits. Through constant use the cars were in such a poor state two were sold in 1922 and the others later. In 1922-23 three Peugeot cars were purchased and a woman Chauffeur, 'Miss Sword', was employed who lived in the Home and was also in charge of the garage. MDNS was expanding and a Motor Auxiliary was formed in 1929 to take the Trained nurses (Sisters) to patients, and some Sisters used their own cars; even a motorcycle was used by one Sister in 1933. All these forms of transport were intermingled and in the early 1950s, and now as Melbourne District Nursing Service, seven Ford Prefect cars were bought followed by twelve Ford Anglia cars 1955. Having received Royal patronage; the now Royal District Nursing Service (RDNS) had its own fleet of Holden vehicles by the mid 1960s and the Motor Auxiliary ceased operating in 1971 as by then all staff employed were required to have a driving licence. Seat-belts had been introduced to Victoria in 1959 and District fitted them to their cars from 1962, even though they did not become compulsory until 1970. The Holden vehicles were replaced with grey Holden Torana vehicles. After several years the fleet was changed to white Toyota Corolla vehicles. The Melways Directory of maps was introduced in 1966, which was a boon to the Sisters, though it was a few years before it went beyond Seville, so a large paper map was used by the Sisters visiting patients in the areas passed Seville. By 2009 there were 598 cars in the fleet and the Sisters travelled 9 million 200,000 kilometres – this is equivalent to 12 trips to the moon and back. In the foreground of this sepia photograph is a side-on view of a four door 1937 style small grey car with a nose shaped bonnet, parked on the road beside the kerb with the headlight facing to the right of the photograph.The bonnet joins onto a straight windscreen which adjoins a slightly curved hood running back along the car. This adjoins a back window which joins onto the sloping rear body of the car with a small protruding boot. Windows are seen above the body work of both facing doors and a smaller sloping window above the body work and rear wheel arch. On the drivers door is a Maltese cross and the words "Melbourne District" written above the Maltese cross and "Nursing Society" below it. In front of this door the body work forms a wheel arch and the headlight is attached between this body work and the bonnet. Rubber tyred wheels with solid hub caps are seen below each wheel arch. On the footpath, behind the bonnet of the car, four Melbourne District Nursing Society (MDNS) Trained nurses (Sisters) are standing. They are wearing dark grey coats over their grey uniforms with white collars, and brimmed grey hats with a Maltese cross on the light coloured headband. The Sister on the right has her left hand gripping the handle on top of her oblong nursing case. A metal spiked fence is behind the Sisters, which runs to the left into one of the two square concrete columns which sit either side of a path. A hedge is behind the fence, and behind this part of a building with three arched windows can be seen. A white plaque is attached to the fence near one of the columns.mdns, melbourne district nursing society, rotary club of victoria, mdns transport, rdns, royal district nursing service, rdns transport

The Bentwood chair has been called ‘the world’s most popular chair’. The original Bentwood chair, was designed by German-Austrian cabinet maker and Master Joiner, Michael Thonet (b.1796 - d.1871) and introduced to the market in 1859. Thonet started his business in his home town of Boppard as an independent cabinet maker in 1819. In the 1830’s he began trying to make furniture from glued (laminated) and bent wooden slats. Over the next few years his attempts to patent this process failed in Germany, Great Britain, France, and Russia. He then began using lightweight, strong wood and bending it into elegant, comfortable furniture. The Bentwood technology took Thonet years to perfect. In simple terms, the wooden rods or lengths were wet by soaking or steaming, bent into shape and then held in place until they hardened into the moulded curved shape or pattern. The wood usually chosen for the bentwood chairs was maple or beech. Thonet had revolutionised an older process by industrialising the process. The dowels of wood were cut and prepared as components of furniture, treated by the ‘bentwood’ process, then ready immediately for assembling with very little extra workmanship needed. Thonet held 2 patents for this process, the second one ended on 10th July 1869 and was non-renewable. At the Trade Fair at Koblenz of 1841 Prince Klemens Wenzel von Mettemich was very impressed with Thonet’s furniture, especially the chairs. In 1842 Thonet sold his Boppard business and emigrated to Vienna, and began working, along with his sons, on the interior decoration of the Palais Leichtenstein, for the Carl Leistler establishment. In 1849 he began his own business again, the Gebruder Thonet to include his sons (translated “Brothers Thonet”). He produced the “No. 1” Bentwood chair. He received a bronze medal for his Vienna bentwood chairs at the World Fair in London in 1851, and a silver medal in Paris in 1855. In 1856 he opened a new factory in Koritchan (Moravia), where there were extensive woods of beech trees available for his enterprise. In the next years, five more Eastern European production sites were established in Bystritz (1862), Nagy-Ugrócz (1866), Wsetin (1867), Hallenkau(1867) and Nowo-Radomsk(1880). Thonet’s 1859 No. 14 “chair of chairs” (or “Konsumstuhl Nr. 14” – coffee shop chair no. 14) was the most famous of all of Thonet’s Bentwood chairs. In 1867 he received a gold medal at the Paris World Fair. This new style of furniture making became very popular. Up until 1830 50 million of these chairs had been produced. By the 1870’s Thonet owned offices in almost 20 countries, with sales locations across Europe, in Chicago and New York. In 1889 he set Thonet set up a head office in Frankenberg, Hesse. Bentwood models designed in the mid to late 19th century featured hand-caned or laminated wood seats and were usually stamped with the country of origin. The Bentwood elements were the backrest, seat rim and legs. Typically the seat was covered with ‘bucket’ leather. After the Patent ran out in 1869, companies such as Jacob & Josef Kohn began the production of bentwood furniture.The popularity of the Bentwood chair that was introduced by Michael Thonet in the 1850s is due to its versatility and timeless quality. Its style, whether varnished or painted, suits any room in the house. The lightweight chairs are also popular for café and restaurant seating, as well as for public gatherings. They can be easily moved around and grouped in a variety of ways to suit any occasion.Chair, bentwood, pair of two. Backrest has full length inverted U inside frame. Support rail and wire reinforcing between legs. 3692.01 seat has floral pattern pressed into wood 3692.02 seat is plain (replacement seat). Made by Harnison & Co.3692.01 chair's marks; Label ""HARNISON & CO./ NEUSOL / BUDAPEST" and "WIENER NOBEL" and "(symbol) N inside circle, under Crown" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, domestic furniture, dining furniture, bentwood chair, harnison & co., neusol, budapest, wiener nobel

The Optacon OPtical-to-TActile-CONverter is a compact, portable reading aid for the blind. It is about the size of a textbook, and weighs less than 2kg. It works by converting a printed image into a tactile image that a blind person can feel with one finger. After a period of training and practice, a blind person can use the Optacon to read ordinary books, magazines, newspapers, and other printed materials. The Optacon was developed after intensive research at Standford University, California, USA and was trialed by clients of the Royal Victorian Institute for the Blind (now part of Vision Australia) in 1973. It has three main sections: 1 a miniature camera, 2 an electronics section, and 3 a tactile stimulator array. The miniature camera, about the size of a pocket knife, is mounted in a housing that has rollers for easy movement along a line of print. The camera is connected to the electronics section by a lightweight cable. The electronics section and the tactile stimulator array are in the main chassis. The array consists of 144 tiny metal rods arranged in six vertical columns and 24 horizontal rows. Each of the rods can vibrate independently. The tips of these rods protrude through holes in a concave finger plate where the index finger is placed flat in order to read. These three components act together to convert the image of a printed letter or other shape into a pattern of vibrating rods, a tactile image of the letter or shape. The letter shape is tactually perceived as an image that moves from right to left on the finger, showing the left or leading edge of the letter first. Letters are felt sequentially rather than all at once, and the image should be kept moving. The Optacon converts a printed O into a tactile form that resembles a crater with a vibrating rim -- a completed circle. C would have a gap or opening on the right side of the curve. The letter F would be felt, sequentially, as a vertical line with two trailing horizontal lines. Because it can convert any ordinary printed image into a corresponding tactile image, the Optacon is not restricted to any special typestyle or language. The camera has a zoom lens that compensates for differences in the size of type. The standard Optacon lens can accommodate type sizes from 6 point to 20 point. With the optional F4A magnifier lens, type sizes as small as 4 point can be read. Powered by a rechargeable battery, and comes with its own battery charger. The battery is contained within the main chassis, and is not removable by the user. There are four basic controls on the Optacon: the Magnification Adjustment zoom button located on the camera section on the side opposite the rollers; and the On-Off switch, the Stimulator Intensity Adjustment knob, and the Threshold Adjustment knob located on the right side of the front panel. The Circuit Breaker protrudes from the right-hand wall inside the chassis compartment. From left to right when the back panel is facing you, are located: the jack for connecting the battery charger; the Battery Check button; the Normal-Invert switch; and the Input/Output I/O connector for use with the Visual Display, when using the Repeater Cable to connect two Optacons to one another or with other accessories. Designed not be removed from the leather case during normal operation, the On-Off switch is a slide switch located on the right side of the front panel. It slides up and snaps into place in the on position. 1 black with orange front, rectangular device in leather case assistive devices, audio equipment

Yields information about Ballarat Tramways and trams prior to the closure of the tramway system.Set of 10 digital images of Ballarat trams prior to closure, scanned from original slides by Tony Smith, 1971 prior to closure of the system. This set of slides, possibly on the last weekend of Mt Pleasant services - closure took place on 5/9/1971. . .1 - 30 rounding the curve from Lydiard St Nth to Sturt St. Tram has destination of Sebastopol. IN the background is the Commonwealth bank and the SEC cabinet switch isolator on the corner. .2 - 13 and another single trucker at the City terminus, north side with Racey's store and the SEC offices in the background. 13 has a Twin Lakes sign and the destination of Victoria St. .3 - 26 (Mt Pleasant) and 27 at the city terminus, with many passengers. Has the town hall in the background. .4 - 14 turning from Sturt St into Lydiard St (destination does not appear to be Lydiard St nth - City Oval?) with the ANZ bank in the background. A number of passengers waiting at the tram stop. .5 - 14 in Sturt St west near Pleasant St, at City Oval, with the pole being reversed by a "Bounds". Tram has the destination of City Oval. .6 - 13 west bound (showing Mt Pleasant) at Pleasant and Sturt St, with the VicRoads (CRB) offices and St Peters Anglican church in the background. .7 - 13 and 14 in Sturt St west, opposite City Oval (see .5 and .6) - trams reversing. .8 - 13 and 14 at Grenville St, about to cross into Bridge St from Sturt St. .9 - 14 at ditto - both trams for Mt Pleasant. Has the Patersons furniture store in the background. .10 - 30 eastbound in Sturt St, near Armstrong St with the Crockers store in the background. Tram showing "Special"trams, tramways, sturt st, electrical switching, city oval, lydiard st, pleasant st, grenville st, tram 30, tram 13, tram 26, tram 14

On 19 April 1915, Brighton City Councillor T. Wilson moved to install a roll of honour in the Brighton Town Hall. "The men who had gone to the war deserved all the praise and consideration that could be given them. Nothing could be said too highly in their favour." The Roll of honour was unveiled at the Brighton Town Hall on Armistice Day, 11 November 1928, by the mayor, Cr. H.E. Pullman. It contained the names of the men of the municipality who gave their lives in World War I. A service was conducted by the Brighton Ministers' Association, under the presidency of the Rev. H. B. Hewitt, of St. Andrew's Church, Brighton. The roll of honour was made by H. Goldman Pty, Ltd, a Melbourne cabinet maker and designer who worked exclusively in Australian timbers. The two metal panels/tablets on either side of the honour roll were added at a later date and commemorate those who died in World War II.Polished wood and metal honour board attached to wall in the Brighton Town Hall. The board is a rectangular shape with a semi-circular curved top at the centre. The central section is a dark carved timber Honour Roll for WWI listing the names of Brighton residents who gave their lives in service 1914—1919. To the left and right of the honour roll are black metal panels/tablets that were added at a later date which commemorate those who died in WWII 1939—1945. The central section contains the honour roll of 228 names which are inscribed in gold with black shadow across three panels which are divided by four decorative round columns. The middle panel is arched at the top and under the arch is a decorative wreath in relief containing the City of Brighton crest within it, below which is "LEST WE FORGET" in gold lettering. The top of the left and right wooden panels each have carved decorative eucalyptus foliage and a bow hanging in the middle. A piece of metal with an incised quote "AT THE GOING DOWN OF THE SUN AND IN THE MORNING WE WILL REMEMBER THEM" is attached to the bottom edge of the central section. Below the metal bar on the left and right panels are the dates 1914 and 1919 in gold lettering, and in the centre "TO COMMEMORATE HEROIC & SUPREME SACRIFICE". The cast metal side panels are set back slightly from the central section and contain decorative wreaths at the top and quotes under them. The left panel has the incised inscription "IN GRATEFUL MEMORY OF THOSE WHO GAVE THEIR LIVES IN THE SERVICE OF THEIR COUNTRY IN THE SECOND WORLD WAR 1939—1945" and the right panel reads "GREATER LOVE HATH NO MAN THAN THIS THAT A MAN LAY DOWN HIS LIFE FOR HIS FRIENDS 1939—1945". They have square columns on their far ends and the capital of the columns and top and base decorations mimic the original timber design. brighton, roll of honour, honour board, lest we forget, brighton town hall, commemoration, wwi, world war i, wwii, world war ii, brighton city council, bayside, military, service, war memorial, h. goldman, harry goldman, h. goldman manufacturing company

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

Set of five Colour slides, Kodak, white cardboard mount of track laying and the construction of the Flinders Street overpass during November 1959. .1 - Photo showing the tram line in the pre location position with the new track over the first stage of the overpass read to be cut in. 15/11/1959. Tram running a route 46. Keith notes - 317 to Spencer St terminus in Flinders St from Cnr of Spencer with temporary track ready for trams on the overpass. .2 - track being tested on 21/11/1959 - has the Flinders St station and signal gantry in the background. On the bridge is a sign for Coffey Ford. Keith notes - 903 stranded on temporary track as test car for Kings St bridge overpass Flinders St between William and Market Sts. .3 - tram 903 testing the track, has a number of workers in the view - 22/11/1959 Keith's notes - 903 first tram (on its second use) testing Flinders St overpass track and approach curves on east side. .4 - trams 939 (route 46) and 350 (route 27, Spencer St) at the east end of the new bridge with people watching. Note the "cars stop here" on the orange pole near the bottom of the ramp. 22/11/1959 Keith's notes - 939 - first passenger tram over Flinders St overpass on return journey and 350 second passenger tram. .5 - tram 939 first passenger car over the bridge at the western end of the new bridge with many workers in the background. Also Markillies Hotel. Also shows the reinforcing in the side of the bridge for the next section of the bridge to be built following this stage. 22/11/1959 Keith's notes - 939 first passenger tram over Flinders St overpass over King St. Slide Number K(l)(287), K(m)(275), K(m)(278), K(m)(287), K(m)(282) respectively.Extensive handwriting on rear in ink giving the photographic details of exposure.trams, tramways, flinders st, track equipment, track construction, trackwork, route 46, testing, king st, tram 371, tram 903, tram 939, tram 350

File containing correspondence between the MMTB Chief Engineer Mr. Strickland and various companies, including Railless Ltd, Australian General Electric, English Electric / Dick Kerr and its UK consultants Heap and Digby (H&D) between the period August 1922 and August 1936. Includes drawings, technical specifications, some of which are duplicated in the Reg Item 535 file. For a listing of the contents of this file and of Reg Item 535, see Related Documents - htd535-536list.pdf Item 536 - Trolley Buses Listed from top of file, in order found. Letters generally to/from MMTB Chief Engineer. Date Type Notes 7/8/1936 Letter from TE Barnes – re Bremen Germany Steam Omnibus. Three pages. On foolscap paper – rest quarto. Has been damaged. 3/2/1926 Letter from Bruce Henderson re transport in the Glen Eira Rd area – poor private bus. 25/10/1925 Letter to G. Higgins, regarding a paper he had presented and printed in Australian Municipal Journal about transport around Melbourne, predicted the demise of trams, trains. Notes Spencer St bridge. Copy of paper is pinned with letters. 28/819/22 Copy of letter to H&D from AEC (see above) Includes the Mexborough test gradient drawing. Undated Pamphlet from Railless Limited about Birmingham’s new trolley buses. 16/3/1923 Extract from Electric Railway and Tramway Journal – wages of trolleybus drivers not getting paid extra in Bradford. Two copies pinned together. 9/4/1923 Letter from H&D re pamphlet exchange You should have had it! 23/2/1923 Letter to H&D asking for information. Has a note re the Board’s attitude towards motor buses. 28/8/1922 to 24/23 Series of letters pinned together with L. de Koenneritz regard trolley buses and Paris. Noted that the MMTB did not have the legislative power to run trolley buses. 15/2/1922 to 10/4/23 Series of letters pinned together with the Aust. GE regarding trolley buses and references to their operation in journals. 10/1/1923 Letter from H&D re request for information on driving gear of Railless Ltd. vehicles 23/2/1923 Letter to H&D re above. 23/2/1923 Sheet of paper on “Steads Review” paper – pamphlet not yet to hand. 8/11/1922 to 10/1/1923 Series of letters with H&D pinned together asking for Railless driving gear – reluctant to provide. 26/9/1922 Letter from H&D, with copy of letter from English Electric enclosing materials regarding Trolley Bus equipment. Note much of this material is the same as that in Reg Item 535 contained within the green cloth tape. Performance curves for DK 26B motor Blueprint – 4449 – outline of controller DK, Type D, form B. Specification for DK 26B trolley motor. Blueprint – drawing 2810 – DK 26 Motor Blueprint – No. 1312D – controller diagram Pamphlet – EE – tramcar Type D automatic circuit Breakers. Publication No. 230, dated 9/1920. Ditto, Form A, drawings No 3565, 1/1/19. Performance curves for DK85A motor Blueprint – P2002M034 – DK85 Motor. EE specification for Traction Motor DK85 Modified from a tram motor. Blueprint – EE drawing – P2002M036 – DK85 motor with ball bearings. EE blueprint P2102F021, traction control wiring for form D controller. EE blueprint P2103F033 – outline of controller type SE1, form C and D. EE blueprint P2102Z011 – wiring diagram for type SE1 form controller. EE blueprint – P2102F025 – diagram of connections (wiring) for Type SE1, form D controller.trams, tramways, trolley buses, melbourne, mmtb, aec, heap and digby, english electric, railless, dick kerr, general electric

The sample of steel from which the S.S. Julia Percy’s boiler was made has been tested, according to the attached label. The test involved heating the steel to blood red temperature (or dark red colour) then dipping it into water and bending it when it was cold. A “very severe test for quality” was written on the ticket by T.H. Osborne. (Mr Thomas Hamilton Osborne was the secretary for the Western Steam Navigation Co, established in Warrnambool in 1886. The company’s office was on the corner of Timor and Liebig Streets in Warrnambool and its north-western wall is now part of the current Warrnambool Regional Art Gallery. ) Cold bending of steel in a press or through rollers is the typical method of curving steel for construction. The steel needs to be manufactured in such a way that it is strong enough yet still flexible enough not to crack when bent or rolled. The boiler on the Julia Percy could have been a Scotch Boiler, a design introduced in the 1870’s and still being used today. This design was more robust that previous boilers, generating higher working steam pressures. The design incorporate greater ability to roll iron plates, leading to greater strength, thicker plating and fewer riveted joints. They were originally made of iron then later incorporated steel sections until they were entirely constructed of steel. Many examples of this type of boiler can be found on wreck sites. Shipping was the cheapest and most practical means of carrying produce and goods during the period 1840-1890. Regular domestic steamer services commenced in the Warrnambool district in the late 1850’s and by 1870 the passenger trade was booming. Produce was loaded from the jetty into ‘lighters’ (small boats), which took it to the ships at anchorage in the bay. Passengers were taken to the ship’s side then climbed aboard up ladders or gangways. The coming of the railway in October 1889 meant the gradual decline and end of the steam shipping era. Originally the ship was known as the SS Julia Percy and was later renamed as the Leeuwin. She was an iron passenger-cargo steam ship built in Glasgow by Thomas Wingate for the Warrnambool Steam Packet Company, which commissioned the ship for the steamship trade in Victoria’s western district. She was first registered in Warrnambool, Victoria in 1876. At one point in time the Julia Percy would sail from Warrnambool to Melbourne every Friday and return from Melbourne to Warrnambool every Tuesday. The cost of a return ticket for a Saloon Fare was £1.0.0. She would sail “if practical and weather permitting”. The Julia Percy changed hands several times. Her next owner was the Western Steam Navigaiton Co of Melbourne (1887). It was the manager of this company, Mr. T.H. Osborne, who tagged ths steel sample above. Melbourne Steamship Co became the next owners (1890), followed by William Howard Smith and Sons (1901) for use in Queensland coastal trades, then she was bought by George Turnbull in 1903 and used for local mail contract in Western Australia. She was sold to the Melbourne Steamship Company Ltd. (1906) and re-named the Leeuwi but continued in her Western Australian coastal run. She was converted into a coal hulk in Melbourne in 1910 as a result of damaged caused when she was driven against the jetty at Dongara during a gale. The ship was eventually dismantled and scuttled in Bass Strait on 28 December 1934. The steel sample is significant for its association with the wreck of the Leeuwin (Julia Percy), which is on the Victorian Heritage Register. It is historically significant for being a rare artefact that has potential to interpret aspects of western Victoria’s 19th century steamship trade and Victorian cultural history, including the testing and manufacturing process associated with steam power. Leeuwin is listed on the Victorian heritage Register as being historically significant ‘as one of only four wrecks of steamships in Victorian waters associated with the western district of Victoria’s coastal steamship trade. Her registered number is VHR S413. A sample of the steel from which the boiler of the "SS Julia Percy" (later named Leeuwin) was made. The piece of steel is a ‘C’ shape with the ends almost meeting. A luggage ticket is tied onto the steel and has an inscription on it. The steel is rusty.Ticket with typed information “Steel of which the Boiler of the “Julia Percy” (Warrnambool Steam Navigation Co) was made. TEST: Made Blood hot or Dark Red then dipped into water and bent cold. A very severe test for quality T.H. Osborne. Below these words is the hand written inscription in black “FM 151 / 9.75” julia percy, leeuwin, steel, boiler, steam ship, metal testing, western steam navigation co., flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, t.h. osborne