The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button.These were the first behind the ear hearing aids manufactured by the National Acoustic Laboraties (NAL) in Australia Single behind-the-ear hearing aid.

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Silver metal case with side clips and hearing aid attached. Has battery compartment for AA batteries. Volume control is the top left hand corner. "C OF A/CALAID/36778" on back of case deaf children australia, hearing aid, calaid

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Silver metal case with side clips and hearing aid attached. Has battery compartment for AA batteries. Volume control is the top left hand corner. Comes with its black case "C OF A/CALAID/101862" on back of case. "ANGUS & COOTE/Acoustics/HEARING AIDS" on inside cover of case

The first commercial digital hearing aid was created in 1987 by the Nicolet Corporation. The hearing aid contained a body-worn processor that had a hardwire connection with an ear mounted transducer. While the Nicolet Corporation’s hearing aid was not publicly successful and the company shortly folded, it was able to start a competition between companies to create more effective hearing aids. Two years later, in 1989, the behind-the-ear (BTE) digital hearing aid was launched. In addition to the Nicolet Corporation, Bell Laboratories expanded upon the hearing aid business by developing a hybrid digital-analog hearing aid. When the hearing aid was put on in the market, it was instantaneously successful. This development helped bring major changes to the world of the hearing aid. The next major milestone was creating an all-digital hearing aid. The Oticon Company developed the first digital hearing aid in 1995, but it was only distributed to audiological research centers for research on digital technology in the realm of acoustic amplification. The Senso was the first commercially successful, all-digital hearing aid, and was created by Widex in 1996. After the success of the Senso, Oticon began marketing their own hearing aid, the DigiFocus. Presently, the digital hearing aid is now become programmable. By making the hearing aid programmable, it has allowed hearing aids to be capable of regulating sound on their own, without using a separate control. The hearing aid can now adjust itself depending on what environment it is in and often does not even need a physical volume control button. Square, silver metal hearing aid with electronics and AA battery compartments. Has an ear piece and ear mould attached by wire, with a volume adjustment. A body level type, probably a CALAID T manufacture from 1955 to the 70's. On front "C OF A/CALAID/108499" deaf children australia, hearing aid, calaid, commonwealth of australia

John Griffin’s wool classing exercise books from 1941-1943 when he was a student at the Gordon Institute in Geelong. John and his father John Henry Griffin owned a farm in Dunkeld and bred fine merino wool. One year they topped the wool sales figures for the area, in the late 1940s. There are four books in total. One book is on the topic of Veterinary Science and is from 1941. It contains information on topics such as birth and early lamb life, bone structure and other internal organisms of a sheep, such as the heart. Another book is on Wool Classing with topics such as wool scouring, dipping, shearing and micron counts. The third book is on general shearing shed knowledge. This includes a diagram for rolling a fleece, correct method for stamping a wool bale and branding abbreviations. The final book is on the History the Merino Sheep. It is a long form essay answer booklet. The Gordon institute and wool are synonymous with one another, the first class in wool sorting was offered at the Gordon in 1891. With much of the wool clip sent directly to England at this time, The Gordon's focus soon shifted to wool classing and marketing. By the 1930s, The Gordon's wool school was renowned as the state's wool industry training centre. Early specialist short courses were offered around Victoria to assist wool growers in preparing their clip for market, with modules on sheep breeding and pasture development included in the programs. Anne Griffin’s, John’s daughter, donated the exercise books to the National Wool Museum in 2021. Book 1 is predominately blue circular cover with cream background. Middle of book has pink highlighter mark. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. It also has four black ink markings Book 2 is predominately blue circular cover with cream background. Book has red tape across the spine. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. Book 3 is predominately blue plaid cover with cream background. Middle of book has pink highlighter handwriting which has been crossed with the same colour, leaving the text unreadable. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. Book 4 is predominately blue diagonal striped book with cream background. Middle of book has small picture of Australia. Reverse of book has an Arithmetical Table and a Multiplication Table in a blue ink on cream paper. Book 1. Front cover: “All Schools” / EXERCISE BOOK / NAME Jack Griffin Grade Gordon Institute School of Technology(?) / Approved by the / Education Department Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) Book 2. Front cover: 2nd & 3rd / “All Schools” / EXERCISE BOOK / Name Jack Griffin / Grade 2 / School the Gordon / Approved by the / Education Department Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) Book 3. Front cover: Embassy / EXERCUSE BOOK / Name John Griffin / Grade 1 / School (?) / APPROVED BY THE EDUCATION DEPARTMENT / Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) Book 4. Front cover: EXERCISE / APPROVED BY EDUCATION DEPT. / BOOK / NAME Jack Griffin / GRADE 3 / SCHOOL Gordon Back cover. Reverse. ARTHMETICAL TABLES / (Numerous, see media) gordon institute geelong, wool classing, 1940s sheep farming, note book, study, student

This dress was worn in a pre-racing season fashion parade held in October 1974 by Pearl's Boutique, a well-known fashion boutique that operated in Brighton from 1965 until 2005. Paula Folks, the store's manager at the time, recalled that this parade had been loosely red, white and blue themed in honour of Princess Anne's wedding to Mark Phillips, which took place on 14 November of that year. The parade was likely held at Tudor Court in Caulfield, a popular reception venue. Pearl's Boutique was established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula Folks joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Full-length blue jersey evening dress with round neckline and long sleeves. Cuffs edged with blue-grey ostrich feathers. Zip at back.Label: "Van Roth / REGD". Labels on side of inner zip: "100% POLYESTER" / SIZE 14 / TO FIT / BUST 90cm / WAIST 70cm / HIP 95cm".pearl's boutique, pearl's of brighton, paula folks, van roth, melbourne designers, flinders lane, 1970s

This cape was worn in a pre-racing season fashion parade held in October 1974 by Pearl's Boutique, a well-known fashion boutique that operated in Brighton from 1965 until 2005. Paula Folks, the store's manager at the time, recalled that this parade had been loosely red, white and blue themed in honour of Princess Anne's wedding to Mark Phillips, which took place on 14 November of that year. The parade was likely held at Tudor Court in Caulfield, a popular reception venue. Pearl's Boutique was established by Elsebe Wilhelmine Wills and Pearl Murray in 1965. The two friends had grown up together in Horsham, and decided to go into business together after reading in Fashionweek that women in their thirties, forties, fifties and older had trouble finding young-looking styles. Setting out to fill this gap in the market, they established a store at 240 St Kilda Street, near the Brighton Yacht Club, with Elsebe handled the buying while Pearl fronted the shop. They moved to 40 Church Street, Brighton in 1967. Paula Folks joined the business as a manager in 1968, became a partner in 1971 and took over from the original owners in 1988. When she closed the boutique in 2005, she donated a number of garments to Brighton Historical Society. Reflecting fondly on her 38 years at Pearls, she told The Age, "I have enjoyed all my days here because people are special to me. I love fashion. It's been a pleasure to dress people, to make them look good and feel pleased with themselves."Full-length bright pink rayon jersey cape with pink ostrich feathers around the collar.pearl's boutique, pearl's of brighton, paula folks, 1970s

The AFB were aware that accommodation options for blind people were limited and sought to open a hostel to assist with this.The first hostel opened in Lara Street, South Yarra but could not meet demand. In 1926, a suitable property 'Egremont' at 54 The Avenue, Windsor, came on the market. The price was £2650. Lack of funds to purchase seemed an insurmountable barrier. With assistance from the Trustees of the Edward Wilson Estate and the Felton Bequest a deposit of £650 was raised. In a huge step of faith the Committee took out a mortgage of £2000. The interest on the mortgage and its repayments weighed heavily on the Committee. The Avenue, as 'Egremont' was commonly termed, was also a seven roomed house. Mr Paterson and the Architect, Mr Parkes of Oakley and Parkes, immediately began planning an extension, fourteen single bedrooms were added. They were filled from the Waiting List. A Windsor Auxiliary was formed and worked to reduce the mortgage of £2000. An active programme of dances, card evenings, theatre nights and the like took place under the leadership of Mrs. Robertson. The Auxiliary also took an interest in the boarders, arranging entertainment and social activity. £1500. was still owed in 1930. Living side by side is no easy task for a group of people, and the Hostel meeting minute books are filled with stories of disputes over wireless sets, telephones, hot water bottles and wardrobes. In 1958, with rising costs and the growth of aged care centres, the Hostel was closed and the house sold to a succession of private buyers. In 2016 it still stands and has been refurbished as a guest house.B/W copy of newspaper photographThe hostel for blind women at 54 The Avenue, Windsor was established in 1926 to provide a place where sightless women may live together to their mutual advantage under proper and sympathetic supervision. The Windsor Hostel was sold in 1958. This building still stands today and has been refurbished.egremont, blind womens hostel, tilly aston

Commemorative object produced by Simplot Food Service and presented to the City of Greater Bendigo on the occasion of the 50th anniversary of the creation of the Chicko Roll by Bendigo born boiler maker, Frank McEncroe. The Chicko Roll has been an Australian icon since the 1960's and 70's. Inspired by the Chinese spring roll and first sold in 1951 as the "Chicken Roll" despite not actually containing chicken. The snack was designed to be easily eaten on the move without a plate or cutlery and is typically deep-fried in vegetable oil. By 1965 the ubiquitous Chicko Roll was sold in every fish and chip shop throughout the country and at the height of their popularity in the 1970s, 40 million Chiko Rolls were being sold Australia-wide each year and more than one million were exported to Japan.(Wikipedia https://en.wikipedia.org/wiki/Chiko_Roll). Advertised with the slogan 'Grab a Chiko', 'Hit the Hot Spot' and 'You Can't Knock the Roll' the marketing around the Chicko Roll was aimed towards the male population with women perched on Harley Davidson's prevocatively preparing to bite into a Chicko Roll. In 2008 with a push towards healthier eating, Chicko Roll reviewed its advertising and although it continues to target young men, it switched to using a 'fun, active' young women, riding a retro pushbike near the beach to improve its image. In 1995 J.R. Simplot, an American company who also own Leggo's, Birds Eye, Edgell and John Wes,t acquired Chicko Roll to sure up their foothold in the Australian market. Life size gold plated chicko roll in a hinged wooden presentation box with red lining. Double sided, printed letter accompanying the object explains its creation and significance.0365.1; CHICKOcity of greater bendigo commerce, mayor acherman

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s.| This sewing machine belonged to Isla Ilma Margaret Ernestine neeTasker, mother of Alfred Haeusler. Singer was first established as I. M. Singer & Co. in 1851 by Isaac Merritt Singer with New York lawyer Edward C. Clark. Best known for its sewing machines, it was renamed Singer Manufacturing Company in 1865, then the Singer Company in 1963. The Singer company began to market its machines internationally in 1855 and won first prize at the Paris world's fair that year. They had offices established in both Sydney and Melbourne by the mid-1960s. The company demonstrated the first workable electric sewing machine in 1910. Singer was also a marketing innovator and a pioneer in promoting the use of instalment payment plans, making their machines more affordable for many people. This item is from the Hauseler Collection which documents social life of early settlers in the Wodonga community.Singer "Coffin top" treadle sewing machine with extension table. The machine is mainly black and silver metal but is extensively decorated with coloured decals. The decorations on this machine features a pheasant design which also helps to date the machine as it was only used from 1890 to 1915. The sewing machine is set into a wooden table with and extension leaf and 6 drawers, 3 on either side. The frame and treadle mechanism are iron with a thin leather belt to drive the mechanism. The "coffin" shaped top sits over the machine to protect it when not in use and is easily removed. The extension leaf provides a larger working surface and folds down when not in use. The Singer logo attached to the front of the machine features a needle, shuttle and thread.On metal base plate: "PATENTED /DEC 5 -1882/ MARCH 20 - 1883/ AUG - 21 1888. Model no: L6485622 Along top of machine: "The Singer Manufacturing Co." Front right: Singer Company Logohaeusler family, wodonga pioneers, sewing machines, singer sewing macnine

Dahlia & Arts Festival, Eaglehawk.16th - 26th March, 1995. Programme. Debutante Ball (1), 'The Festival' Exhibition at the Borough Galleries. Debutant Ball (2). Art Preview and Presentation of Awards. Craft Market. Displays of Cake Decorating. Sidewalk Busking Competition. Gala Fair. Eaglehawk Fire Brigade open day. Porcelain Art and Craft Show. Art Show. Display of Memorabilia-Cornish Assoc. Static Display-Irish Assoc. Children's Multi-Dimensional Art Exhibition. Children's Photographic Display. Flower Show. Photographic Print Competition. Eaglehawk Heritage Society-Display. Bridge to Park, foot race. Street Procession. O'Shea-Ryan Bendigo Irish Dancing School and O'Shea-Ryan Academy of Irish Dance - Melbourne Performance. 2nd Seasons Fashion Show. 13th Annual Dahlia & Arts Half Marathon. Ecumenical Church Service. Picnic Lunch. Free Concert-Guinness Show Band. Cycling Criterium. Mining Heritage Tour of Eaglehawk. Dahlia Diner. Variety Concert. ''High Jinx On The High Seas''. Childrens Fancy Dress Parade. Gala Charity Old Time Ball. Brass Instrument Solo/Party Competition. 'Gardening Through The Drought'-Guided Tour. California Hill Church Open Day Craft & Devonshire Teas. Traditional Cornish Concert. 'A Time to Remember'. Annual Croquet & Bowls Tournaments. Festival Guest of Honor Mr Wayne Gregson - Journalist. Editor - Bendigo Advertiser. Festival President, Mr Noel Thomas. Vice Presidents Alan Bull, Kevin Herdman. Executive Officer Jeanette Moss. Treasurer Lorna Thomas. Acknowledgements and sponsors on back page.event, entertainment, eaglehawk dahlia & arts festival, dahlia & arts festival, eaglehawk.16th - 26th march, 1995. programme. debutante ball (1), 'the festival' exhibition at the borough galleries. debutant ball (2). art preview presentation of awards. craft market. displays of cake decorating. sidewalk busking competition. gala fair. eaglehawk fire brigade open day. porcelain art and craft show. art show. display of memorabilia-cornish assoc. static display-irish assoc. children's multi-dimensional art exhibition. children's photographic display. flower show. photographic print competition. eaglehawk heritage society-display. bridge to park, foot race. street procession. o'shea-ryan bendigo irish dancing school and o'shea-ryan academy of irish dance - melbourne performance. 2nd seasons fashion show. 13th annual dahlia & arts half marathon. ecumenical church service. picnic lunch. free concert-guinness show band. cycling criterium. mining heritage tour of eaglehawk. dahlia diner. variety concert. ''high jinx on the high seas''. childrens fancy dress parade. gala charity old time ball. brass instrument solo/party competition. 'gardening through the drought'-guided tour. california hill church open day craft & devonshire teas. traditional cornish concert. 'a time to remember'. annual croquet & bowls tournaments. festival guest of honor mr wayne gregson - journalist. editor - bendigo advertiser. festival president, mr noel thomas. vice presidents alan bull, kevin herdman. executive officer jeanette moss. treasurer lorna thomas. acknowledgements and sponsors

The story of 90 years of wool classing between father & son begins in 1936, when a young boy by the name of Stanley James Hucker walked through the doors of the Gordon Technical School in Geelong. Born in 1921, Stanley was 15 years of age when he began his 3-year course in Wool Classing. 30 years later, Stanley’s second son Denis completed the same 3-year wool classing course. Beginning in 1966, Denis attended the same Gordon Technical School and walked the same halls as his father before him. Stanley finished his course in 1938. He went back to the family farm in Lake Bolac for a brief period before enrolling in the Second World War. At the completion of the war, Stanley returned home and married before gaining a soldier settler allotment, north of Willaura. This enabled Stan to use his wool classing knowledge. He ran between 1,500 and 2,000 sheep for many years, while his wool classer stencil also allowed him to go out and class at various sheds around the area. He held his stencil from 1938 until he retired at the age of 60 in 1981. On retirement, his second son Denis was working in the district, managing a local property while also leasing land himself. Upon his father’s retirement, Denis had the opportunity to lease his father’s farm, an opportunity he could not refuse. Denis had finished his wool classing course at the Gordon Technical School in 1968, graduating dux of his class. He began working with a local contractor and started classing wool in his team. Denis gained a great deal of experience working as part of this team in big sheds of up to 8 stands servicing between 10 & 20,000 sheep. It was not all smooth sailing for Denis however, and he soon learnt an important lesson. Class wool the way you’re taught, don’t listen to the owner standing over your shoulder. At a clip of Corriedales near Casterton, Denis was pushing too many fleeces into the line of fine wool. This resulted in a notice from the Australian Wool Exchange (AWEX) “mixing counts too much, submit three clips for inspection”. Denis was able to submit 3 clips with no further complaints, however, this proved a valuable lesson he would never forget over his long career classing wool. In the early 1980s, when Denis was leasing two properties including his father’s, things were going well until drought struck. February 1983 was the date of the Ash Wednesday bushfires, and saw Melbourne have three days over 40 °C for only the second time on record. This period saw Denis give away farming, turning towards contracting work instead. After the difficult times of the early 1980s, the next two decades were a good time for the sheep industry. 15 micron wool was selling for prices between 4 to 5,000 cents per kilo, double what you’d expect for the same wool in 2022. In 1995 a single bale of wool sold for a million dollars. This was a good time for Denis too. His contracting work saw him employing local shearers and shed staff. His team was involved with the shearing and classing of more than 130,000 sheep. After 20 years of contracting, it was time for Denis to transition into the next phase of his life. He gave up independent contracting, preferring instead to return to being a member of someone else’s team. In 2018, having completed 50 years of wool classing, it was time to call it a day and retire completely. At the annual Gordon Wool School Old Students Association dinner held in 2018, Denis was presented with his 50 years as a registered wool classer stencil awarded by the Australian Wool Exchange (AWEX). This is a rare honour achieved by few. As of February 2020, a total of 430 wool classers had achieved this 50-year milestone. For Denis however, his proudest achievement is achieving 90 years of wool classing with his father. The National Wool Museum is proud to share the collection of objects gained from 90 years in the wool classing industry by Stanley and Denis. This ranges from Stanley’s first stencil and Wool Sample book, started when he first attended the Gordon in 1936. The collection concludes 90 years later with Denis’ 50 years of wool classing Stencil. The collection contains many more objects, all telling the story of these 90 years, and the hard work invested by this dedicated father and son duo. Thin sheet of orange plastic with letters and numbers moulded to produce a consistent pattern for the surface below through the application of ink. This wool classing stencil once belonged to Denis Hucker. The top number is Denis’ Wool Classing Stencil Number. On the next line is the emblem of the Australian Wool Exchange, followed by an image of Australia, and finally the letters AW. The final line reads 50 years, indicating Denis’ experience in the profession of wool classing. This stencil is reserved for wool classers who have held their stencil and been actively classing wool in Australia for more than 50 years. Wool classers sort, classify, and grade wool into various lines so that it can be sold at best market price. They also manage and supervise wool-handling teams. The stencil is used in the final step of preparing a bale of wool for sale. It is branded across the front of a wool bale to indicate the quality of the wool, with the classers number used as a seal of approval. Accompanying the stencil are two sheets of white A4 paper with printing in gold and black ink. The first sheet was presented by the Australian Council of Wool Exporters & Processors to Denis Hucker for achieving 50 years of wool classing. Surrounded by a thin gold boarder, the page is made up of black text with gold headings. In the top right corner, an image of a sheep with an outline of Australia is found. The second piece of paper was presented by the Australian Wool Exchange to Denis Hucker for achieving 50 years of wool classing. Two thirds of the page is made up of a gold stencil which reads “50 years”. Accompanying the stencil is black text. Moulded letters, numbers, emblem, and imagery. “950326 / (emblem AWEX) (Image Australia) AW / 50 Years” A4 Paper. Printed. See Multimedia A4 Paper. Printed See Multimedia wool classing, stencil, 90 years wool classing between father & son

Thomas William Cavey was born in 1871, he was the youngest of his family and the only child that was born in Australia. He was first employed at the lime kilns in Geelong, before moving to Queensland for 4 years where he worked as a Boundary Rider. Thomas returned to the Lilydale area to be the driver of a buggy and pair for David Mitchell of David Mitchell Quarry in Lilydale. He selected land in Seamer Road in Monbulk in about 1898, but was working for the railways in Melbourne at the time and would come up to Monbulk at weekends to clear and cultivate the land. He met Lillian Eager, probably through relatives of hers, the Wingates, who lived in Monbulk. He and LIllian were married in 1910. They bought a 22 acre property in what is now called Cavey Road. They had two sons Thomas Charles, born in 1918 and George William Born in 1923. Initially the property in Cavey Road was farmed for vegetables, fruit and berries. The land used for this was over a creek on steep land away from the house. Once the produce was harvested it was taken by flying fox, back across the creek to where it could be prepared for sale. It was then taken to the Emerald and Belgrave markets each week. Later 10 cows were purchased, and the main income from the property was the dairy which produced approximately 25 quarts of milk a day, they produced Cream and Butter and together with the milk they were delivered fresh daily in the horse and cart. Deliveries were made to Monbulk, The Patch and to the canvas town at Silvan Dam, where the workers building the Silvan Dam lived. Thomas William Cavey died in 1959 aged 89. Lillian Blanche Cavey died in 1949 aged 68.

Photo Album - brown cards covers, containing 12 heavy card sheets bound with a brown cotton cord titled "Types of Passenger Shelters MMTB". Ten sheets have two photos of shelters except for the last one giving location and cost. Sheet 1 - Two shelters at Wattle Park 2 - Batman Ave and Peel St; Flemington Road with cable trams in the background. 3 - Victoria Parade and Smith St; Ballarat Road and Gordon St Footscray 4 - Dandenong Road and Hawthorn Road Caulfield; photos of the standard shelter, 6 Number, for St Kilda Road, Alfred Hospital and Gisborne St East Melbourne. 5 - East Kew terminus; Camberwell Road and Smith Road 6 - Oakover Road and Gilbert Rd Preston, Flemington Road at Abbotsford St North Melbourne 7 - Swanston St and Grattan St Women's Hospital with a Bundy clock and street fire alarm in the view; Victoria Parade Fitzroy opposite Eye and Ear hospital with a W class tramcar and the Eastern Hill fire station in the background. 8 - Two photos of the shelter at the corner of William St and Collins St Melbourne. 9 - Toorak Terminus; Rennie and Nicholson St Coburg 10 - Market St terminus City. Images taken from the website production 16-1-2019 - see - http://www.hawthorntramdepot.org.au/papers/shelteralbum.htm On inside back cover is a Kodak label "Scroll" with "3" entered in ink. Date unknown, thought to be mid 1930's - see Reg item 3361 of the construction of William St shelter post 1933.in black ink "Manager" in top right hand corner.trams, tramways, shelters, mmtb, wattle park, victoria parade, st kilda rd, flemington rd, toorak, camberwell, market st, coburg, footscray, preston, caulfield

Used during Korean War Won (1947-) Main article: North Korean won After the division of Korea, North Korea continued using the Korean yen for 2 years until the Central Bank of the Democratic People's Republic of Korea was established on December 6, 1947 and a new currency was issued. It was at the time pegged at par to the Soviet ruble. It was revalued at a rate of one hundred to one in February 1959 and new won were issued. In the following years the won faced some devaluation, caused by the subsequent devaluation and redenomination of the Soviet ruble. From 1978 to 2001, the North Korean government maintained an iconic rate of 2.16 won to the US dollar; since then banks in the country exchange at rates closer to the black market rate. However, rampant inflation has been eroding the North Korean wŏn's value to such an extent that currently it is believed to be worth about the same as the South Korean wŏn. In any case, the U.S. dollar and other currencies are still worth more in North Korean wŏn on the black market than officially. South Korean currencies[edit] Won (1945-1953)[edit] Main article: South Korean won (1945) Following the end of the division of Korea, the won was introduced to replace the Korean yen. The won was subdivided in 100 jeon. The first banknotes were issued by the Bank of Joseon in denominations ranging from 5 jeon to 100 won. In 1950 the currency management switched to the Bank of Korea and new notes were then issued, mostly with higher denominations. The first note put in circulation by the Bank of Korea in 1950 was printed in Japan by the National Printing Bureau (国立印刷局). The next year the Korea Minting and Security Printing Corporation was created and took over as printer of South Korean currency. At the time of the introduction in 1945 the won was pegged to the Japanese yen at a rate of 1 won = 1 yen. In October of the same year the anchor currency got change to the US dollar at a rate of 15 won = 1 dollar. Toward the end of the Korean War the won was devaluated at 6000 won = 1 dollar. Following that the hwan was introduced as the new currency at a rate of 1 hwan = 100 won. Hwan (1953-1962)[edit] Main article: South Korean hwan Due to devaluation of the won the hwan was introduced on February 15, 1953 at the rate of 1 hwan = 100 won. It was subdivided in 100 jeon, but they were never used. New banknotes in denominations between 10 and 1000 hwan were issued. Starting in 1959, 10 and 50 hwan coins were also issued to replace the lower denomination notes. Those were the first circulating coins in South Korea. Due to the short notice of the change in currency, the first series of the new notes was commissioned from the United States Government Printing Office. The notes were released in five denominations, all with an identical design. Some replacement notes with a more suited Korean theme were later issued, starting with the 100 hwan just a month later. The hwan suffered from inflation as well. At its introduction, it was pegged to the United States dollar at 1 dollar = 60 hwan, but toward the end of its life it was devaluated at 1 dollar = 1250 hwan. In 1962, the won was reintroduced at the rate of 1 won = 10 hwan. The 10 and 50 hwan coins were kept in circulation until March 22, 1975.5 Currency notes issued by Korean Government and R.A.A.F. denominations of 100, 100 Won and 1 shilling国立印刷局, currency korea, money korea, money korean war

Canwen Zhao was awarded the $10,000 We The Makers Acquisitive Prize for '35 Life' in 2023. Artist Statement: "35life" is a sustainable fashion project that transforms second-hand clothing materials into urban street outdoor-style products. Highlighting prominent Chinese classic red and green colours not only conveys eastern aesthetics but also adds a sense of unity to the clothing collection. The high-saturation and high-brightness full-colour palette keeps the clothing consistently "fresh," allowing any trendy colours to seamlessly integrate into the project's designs, thus extending the lifespan of the garments. Additionally, all clothing items can quickly transform into a stylish bag for convenient daily carrying and home storage. These bags are made from leftover fabric generated during the production process and serve as original packaging for sale. This approach not only reduces excessive packaging but also enhances the chances of resale in the second-hand market. The project draws inspiration from the traditional Chinese cultural concept of "huo feng ding," meaning "exchange the old for the new." it's also influenced by the designer's personal experience with health issues, making the designs suitable for individuals who can't be exposed to sunlight for extended periods, adapting to the changing urban lifestyle. 35life aims to provide visually pleasing and comfortable dressing experiences for urban dwellers who are busy with work and experience high levels of stress. Unlike traditional design patterns, this project adopts a unique design approach. It selects 3-5 pieces of raw materials based on their colours, and then disassembles them through structural lines. While retaining most of their functionality, these materials are rearranged and assembled on a flat surface before being shaped on a dress form. Subsequently, various ways of creating storage bags are derived from the initial clothing prototypes. After refining the designs, the final products are developed, and similar materials are used to create samples. Therefore, under this design methodology, even for the same garment, it is impossible to produce two identical pieces of clothing. Each garment is truly one-of-a-kind, which enhances its rarity and contributes to the longevity of the fashion pieces. The project includes various types of clothing, each with unique storage methods. This yellow look, named "elegant beach sunscreen monarch," draws its fashion inspiration from traditional Han Chinese attire and its storage concept from the Chinese cultural concept of "jiu jiu gui yi." the design employs flat pattern cutting, utilizing materials from the second-hand market such as beach towels, children's waterproof clothing, and women's dresses. Similar colours and patterns are reassembled through cutting and combining. For the sleeves, quick-drying, sun-protective sport fabric forms the base, overlaid with discarded silk fabric dyed with turmeric and plant dyes. This not only ensures functionality but also adds a sense of elegance. The length can be adjusted using drawstrings. Artist Bio: Zhao Canwen is a multidisciplinary fashion designer with a strong passion for integrating art, history, culture, and sustainable design. With over 15 years of experience in painting, she draws inspiration from ancient Chinese philosophy and aesthetics, which gives her a unique sense of beauty. After 8 years of fashion and art training, she possesses a keen insight into current trends and tends to combine art with commercial needs. Zhao's design style is diverse, characterized by a multidimensional approach, a focus on colour application, and storytelling through details.Outfit consisting of six pieces: - Orange plastic eye wear with green paint - Pair of red and green metal clip on earrings - Red beaded phone case with attached beads on string - Pair of red and green painted running shoes - Yellow and green hooded garment with red piping and zips - Brown bag with green beaded handlessustainable, fashion, we the makers, art, culture, design, chinese philosophy, prize

The Douay (Douai) Rheims Bible is an English translation of the Latin Vulgate Bible (which had been the Latin Bible used by the Catholic Church since the 4th century). It was produced by Roman Catholic scholars in exile from Elizabethan Protestant England at the English College of Douai (then in the Spanish Netherlands but later part of France). The New Testament translation was published in 1582 at Rheims where the English College had temporarily located in 1578. The Old Testament was translated shortly afterwards but was not published until 1609-1610 in Douay (which makes it older than the King James version). The completed work was the only authorized Bible in English for Roman Catholics until the 20th Century. Its purpose was to uphold the Catholic tradition in the face of the Protestant Reformation and was produced as an alternative to the several Protestant translations then in existence. Prior to it being published, the Roman Catholic practice had restricted personal use of the Bible, in the Latin Vulgate, to the clergy. Bishop Richard Challoner issued a series of revisions (1749 - 1772) intended to make the translation more easily understandable and subsequent editions (including this one) were based upon this revision. In 1871, an edition of the Douay - Rheims Bible was published by Thomas Kelly & Sons of Philadelphia (and later, New York). Thomas Kelly described himself as a "Publisher, Printer, Binder, Lithographer and Steel Plate Engraver". In 1876, Thomas Kelly won an award (a Diploma of Honor and a Medal of Merit) for "the Best Catholic Bibles and Prayer Books" at the International Centennial Exhibition held in Philadelphia and his firm continued to print editions of the Bible throughout the 1870's but little is known of him after 1880 when this edition was published. This Bible has been in the Kermond family from 1888 until 1984 when Laurence Kermond (its last owner) died. The Kermonds were an old Warrnambool family with ties to the district going back to the mid 1840's. Joseph Kermond's mother, Catherine (1818 - 1895) and her husband John Kermond,, an ex-convict (1809 - 1877), had moved from Tasmania around 1843 and were living in the Warrnambool area in 1844 where their eldest son was born. They had six more children born at Port Fairy (or Belfast as it was then called). Catherine is buried at the Tower Hill cemetery. The last owner of the Bible was Laurence Kermond (1918 - 1984). He was the great grandson of John and Catherine Kermond and was a well known painter who lived in the Merimbula and Paynesville areas of N.S. W. and Victoria during the 1970's and early 1980's. The story of Joseph Kermond finding the Bible on a beach on the Shipwreck Coast near Peterborough on the southern coast of Victoria, Australia is plausible as it was not uncommon for items from shipwrecks to be washed ashore. However this Bible would not have come from the wreck of the Loch Ard as the dates don't align. The Loch Ard was wrecked in 1878 and this Bible was printed in 1880. It appears to have been printed for the Australian market as there is a page (with an engraved portrait) dedicated to the "Most Rev. Roger Bede Vaughan, O. S. B. Archbishop of Sydney, N. S. W.". It may also have been aimed at the Irish immigrants as the four "Family Register" pages are decorated with borders of shamrocks. The donor found the Bible in a box of secondhand books on a market stall in Gippsland and recognised its links to the Shipwreck Coast through the name of previous owners (a well-known Warrnambool name) and the story of it being found on a beach near Peterborough. This Bible is a rare example of Douay and Reims Catholic Bible of the late 19th century that was once a treasured item belonging to the Kermond family - one of Warrnambool's early settlers. It also has a most unusual story attached to it - being found (and rescued) washed up on a local beach and almost one hundred years later, being rescued again from a secondhand book stall.This Catholic Bible is an 1880 edition of a "Douay Bible and Rheims Testament", printed and published by Thomas Kelly of New York. Its full title is "The Holy Bible translated from the Latin Vulgate Diligently Compared with The Hebrew, Greek and Other Editions in Various Languages". It is revised with annotations by the Right Rev. R. Challoner D.D. The Bible has brown leather embossed front and back covers decorated with identical ornate gilt patterns and a central picture of a cross. It has two coloured illustrations and numerous black and white lithographs and engravings including portraits of past popes, events and places from Bible stories and decorative borders. The Bible includes the Old and New Testaments, approbations from Pope Pius the Sixth and Archbishops of the United States and other countries (including Archbishop Vaughan of Sydney), a Family Register with handwritten notes on births, deaths and marriages from the Kermond family (as well as a description of how they obtained the bible), a Catholic dictionary of the Bible, a history of the Holy Scriptures, a chronological list of heretics (Theological history) and a description of the "Centennial Award - Diploma of Honor and medal of Merit" won by Thomas Kelly (for the "Best Catholic Bible") at the Centennial Exhibition at Philadelphia in 1876. The Records section has a note on the Memoranda page written by William John Kennard in 1920.Spine: HOLY BIBLE Title Page: THE/ HOLY BIBLE /TRANSLATED FROM/ THE LATIN VULGATE/ DILIGENTLY COMPARED WITH/THE HEBREW, GREEK AND OTHER EDITIONS/ IN VARIOUS LANGUAGES/ THE OLD TESTAMENT WAS FIRST PUBLISHED BY THE ENGLISH COLLEGE AT DOUAY, A.D. 1600 / AND THE NEW TESTAMENT, BY THE ENGLISH COLLEGE AT RHEIMS, A.D. 1582./ REVISED WITH ANNOTATIONS/ BY THE RIGHT REV. R. CHALLONER D.D./ TOGETHER WITH REFERENCES, AND AN HISTORICAL AND CHRONOLOGICAL INDEX./ NOW CAREFULLY CORRECTED ACCORDING TO THE CLEMENTINE EDITION OF THE SCRIPTURES/ NEW YORK / THOMAS KELLY, PUBLISHER/ 17 BARCLAY STREET. / 1880 Dedication Page: DEDICATION OF THE ORIGINAL EDITION/ TO/ THAT LOYAL, RELIGIOUS AND ENLIGHTENED BODY OF MEN / THE/ CATHOLICS OF THE UNITED STATES OF AMERICA/ IN ADMIRATION OF THE STEADY ZEAL WITH WHICH THEY HAVE KEPTTHE/DEPOSIT OF FAITH/ BEQUEATHED THEM BY THEIR FOREFATHERS/ AND HANDED DOWN, WITHOUT INTERRUPTION OT ADULTERATION, TO THEIR GRATEFUL POSTERITY/ THIS EDITION/ OF THE/DOUAY BIBLE AND RHEIMS TESTAMENT/ IS / WITH GRATITUDE FOR PAST FAVORS AND HOPES OF FUTURE ENCOURAGEMENT/ MOST RESPECTFULLY ENSCRIBED. Handwritten note: ""This Holy Book was found . on the beach . near Peterborough Vic. having been washed ashore . from the wreck of the Loch Ard, (sailing ship) in the year 1888 . By .Joseph . Kermond; and presented to . his mother . Catherine Kermond , who in turn passed it - on . to her youngest . son ; one Jacob Kermond. He in turn presented . it to his son . William John Kermond , (the writer), 23/3/20)" [Original punctuation]flagstaff hill maritime museum and village, warrnambool, shipwreck coast, peterborough, kermond, kermond family, loch ard, bible, douay and rheims bible, catholic bible, thomas kelly and sons publiisher, douai, rheims, holy bible, religious bible, catherine kermond, john kermond, william john kermond'

Taken from outside the family home on the southest corner of the intersection of Nyora Road and Pitt Street with Eucalyptus Road, looking northeast across the Stokes Orchard Frank Stokes with children, Dorothy (left), Beryl and David Frank Stokes first traveled to the district by train in 1944 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, part of Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Frank bought the land and for the next two years would travel by train from Melbourne to Eltham every weekend establishing Stokes Orchard and building a home for his family, which they eventually moved into in 1946. In the mid 1970s the Shire of Eltham divided the orchard up into numerous rate-able parcel lots, which became affordable for Frank. As a consequence Stokes Orchard was turned into a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate in two stages; Stage 1 encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads c.1976 and Stage 2 encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads c.1979. The development of Orchard Way, The Crest and The Lookout did not proceed as planned due to the lack of the sewer along Diosma Road and so many of the proposed lots were incorporated into five-acre parcels instead.Representative of the orchard growing areas of ElthamDigital file only - Digitised by EDHS from a scrapbook (containing commercially printed photos of digital scans) on loan from Beryl Bradbury (nee Stokes), daughter of Frank Stokes.1950, beryl bradbury (nee stokes), beryl bradbury (nee stokes) collection, david stokes, dorothy stokes, eltham, frank stokes, horse, nyora road, sled, stokes orchard

Viewed from near the end of Stokes Place where the linear reserve now runs between 8 and 9 Stokes Place just visible through trees in foreground, 24 Nyora with red roof is the first house in middle of view. Frank Stokes first traveled to the district by train in 1944 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, part of Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Frank bought the land and for the next two years would travel by train from Melbourne to Eltham every weekend establishing Stokes Orchard and building a home for his family, which they eventually moved into in 1946. In the mid 1970s the Shire of Eltham divided the orchard up into numerous rate-able parcel lots, which became affordable for Frank. As a consequence Stokes Orchard was turned into a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate in two stages; Stage 1 encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads c.1976 and Stage 2 encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads c.1979. The development of Orchard Way, The Crest and The Lookout did not proceed as planned due to the lack of the sewer along Diosma Road and so many of the proposed lots were incorporated into five-acre parcels instead.Housing development in Eltham as an extension to the Woodridge EstateDigital file only - Digitised by EDHS from a scrapbook (containing commercially printed photos of digital scans) on loan from Beryl Bradbury (nee Stokes), daughter of Frank Stokes.1977, beryl bradbury (nee stokes) collection, nyora road, stokes orchard estate, stokes place

Viewed from near the end of Stokes Place where the linear reserve now runs between 8 and 9 Stokes Place looking slightly east of south towards Nyora Road. The new Christian Church on Nyora now the Baptist Church visible in middle view. Frank Stokes first traveled to the district by train in 1944 to find land with the intention to establish an orchard. By chance he met Arthur Bird of Bird Orchard (bounded by Pitt Street, Eucalyptus Road and Wattle Grove) and they got talking over their common interest. Arthur put Frank up for the night and pointed out the land, part of Crown Allotment 15, Section 5, Parish of Nillumbik (CA15) somewhat diagonally opposite Bird Orchard. Frank bought the land and for the next two years would travel by train from Melbourne to Eltham every weekend establishing Stokes Orchard and building a home for his family, which they eventually moved into in 1946. In the mid 1970s the Shire of Eltham divided the orchard up into numerous rate-able parcel lots, which became affordable for Frank. As a consequence Stokes Orchard was turned into a housing development by Macquarie Builders and marketed as the Stokes Orchard Estate in two stages; Stage 1 encompassing Scarlet Ash Court, Ironbark Close and Peppermint Grove bounded by Nyora and Eucalyptus roads c.1976 and Stage 2 encompassing Stokes Place, Orchard Way, The Crest and The Lookout bound by Nyora and Diosma roads c.1979. The development of Orchard Way, The Crest and The Lookout did not proceed as planned due to the lack of the sewer along Diosma Road and so many of the proposed lots were incorporated into five-acre parcels instead.Housing development in Eltham as an extension to the Woodridge EstateDigital file only - Digitised by EDHS from a scrapbook (containing commercially printed photos of digital scans) on loan from Beryl Bradbury (nee Stokes), daughter of Frank Stokes.1977-07, beryl bradbury (nee stokes) collection, eltham, eltham christian church, stokes orchard estate, stokes place

The suitcase didn't catch on until the end of the 19th century, it was quite literally as a case for suits. A typical suitcase came equipped with an inner sleeve for storing shirts, and sometimes a little hat box on the side. But even in the early 20th century, the "dress-suit case" was only one of countless styles of container travellers could buy, from steamer trunks to club bags. By the late 19th century a significant point was reached in the history of transportation, it was the beginning of mass tourism, rather than travel for travels sake made use of by the wealthy in society. Travel wasn't just for the wealthy any more but everyone. Suitcases began as an afterthought in the luggage and leather goods business, but they soon became the very symbol of travel. An 1897 wholesale price list included the words "suitcase" only twice in a 20-page list of luggage types. In America a 1907 T. Eaton & Co. Catalogue, trunks took up a full page while suitcases share a page with club bags and valises. In a 1911 a United Company catalogue, now displayed around 40 per cent of the advertisements were for suitcases. Early suitcases were lighter and more portable than trunks, but they were still bulky by today's standards. Leather, canvas, wicker or thick rubbery cloth was stretched over a rigid wood or steel frame. Corners were rounded out using brass or leather caps and some had wooden rails running around the case. Until steamship travel declined during the mid-20th century, many of these types of the case were advertised as waterproof with some lightweight models marketed specifically to women. The item gives us a snap-shot as to how people undertook travelling during a time when undertaking a journey for pleasure at the end of the 19th century was mainly only for the wealthy. This time saw the beginnings of change from the wealthy in society being able to travel, to the onset of mass tourism. Along with this change in societal norms saw many innervations to the design of luggage as it became a fashionable item.Suitcase wooden with four wood reinforcing ribs, 2 leather straps with buckles & leather handles each end. Has inner shelf.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, suitcase,

GRANT, Thomas (From Short Notes on Ringwood - RDHS) Born 1854, died 1933, aged 79 years. Thomas Grant, born in Burwood, Victoria, came to Ringwood in 1876. On land purchased from Mr. D. Gostick in Whitehorse Road, in the vicinity of the present Drive In Arcade, he built a blacksmith's and coach building shop. In 1880, he married Mary Ann French, of Mulgrave. There were four children, Andrew, Mary, (died in infancy) Thomas, and Margaret. Miss Margaret Grant is a well known resident of Mullum Road. With the opening of the station in 1882, activities in the growing district tended to congregate in its vicinity, and, in 1883, Mr. Grant moved his “smith" to the corner of Adelaide Street. At the same time, he planted out an orchard on his land which ran from Ringwood Street, to Warrandyte Road, and north as far as Mullum Greek. Eventually, about 1910, he sold his business to the Reed Brothers, and retired to the comparatively lighter life of orchardist and market gardener. In 1909, he sold 8 acres of his land to the Lilydale Council. This land, situated in Ringwood Street, behind the Town Hall, is known as the Ringwood Reserve. Mr. & Mrs. Grant were foundation members of the Methodist Church. He was appointed a Trustee in 1879, and served until his death 54 years later. He was an enthusiastic member of many societies, and he held public office in civic affairs. His interests included the Progress Association, Cricket Club, and the Agricultural Society, at whose annual show, he was a regular exhibitor. He served as a Councillor in the Lilydale Shire, repres¬enting Ringwood, from 1889 to 1894, and was a Justice of the Peace. 26278a Ledger belonging to First Blacksmith in Ringwood 1880s. Dark green cover with leather spine and corners. Dark coloured edges on pages. 542 pages, 320 used. 26278b Day book belonging to Thomas Grant, Blacksmith, Ringwood used 1929. Brown covered book with leather spine. First 95 pages torn out. Only two pages of remaining 76 used. 26278c Ledger with alphabetical index - Thomas Grant, Blacksmith, Ringwood - 1888. Green covered book with red spine and corners. Dark coloured edges on pages. 275 pages. Some unused. 26278d T. Grant Blacksmith Day Book. Green covered day book of T. Grant, Blacksmith and General Smithy, Ringwood 1883 . Red square on spine with Day book written on it. Day Book in ink hand written on front spine. 26278e Day book belonging to Thomas Grant, Blacksmith, Ringwood - 1879-1881. Green cover with brown spine and edges. Gold lettering on spine saying Day Book Pages all used. 26278f Collection of receipts, some blotting paper, some pages from the Journal of Architecture, a short story, and drawing with description of an Albert Sociable carriage.

This Minton floor tile is from the wreck of the Loch Ard and is currently on display in the Great Circle Gallery at Flagstaff Hill. The iron hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with a high value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well packed Minton porcelain peacock, a two meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. Wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These new floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-molded casting. When fired, the resulting tile was colours-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history. A square Minton floor tile with a dark brown, beige and white pattern. The tile has a piece broken off along one side and some chipping along the edges. This ‘encaustic’ floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO Patent ..."flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, minton floor tile, encaustic tile, melbourne international exhibition, floor tile

Sad irons of the 19th century were so named because of the weight 1.8Kg that was needed to press wrinkled clothes and sheets. They were made of solid metal, including the handle. When the iron was heated, this meant that the handle would also heat up. The user would have to use a thick cloth or a mitt of some sort before they could pick up the iron. Even so, burns and blisters, as well as strained, tired arms, were a normal part of the “ironing day.” Mrs Mary Florence Potts of Ottumwa, Iowa, brought a change to the world of ironing. At the age of 19, in 1870, she invented her first sad iron. It had a hollow metal body that could be filled with a non-conducting material such as plaster of Paris. In 1871, Mary invented the removable wood handle, so that it could be changed from the cool iron to one that was hot and ready to use. A final improvement was the shape: Mary made both ends pointed so its user could iron in either direction. All of these inventions were patented under her name, a rarity for the time. Mary, with the help of her husband, tried unsuccessfully to market her invention on her own. It wasn't until she sold the sales rights to the American Manufacturing Company that sales took off. Advertised as "Mrs Potts' sad iron," it became a sensation. The company manufactured the iron from about 1876 to 1951. Mrs Potts' sad iron became a household word and a standard for future inventors to have to surpass. This didn't happen until 1882 when Henry W. Seely patented the first electric iron. The item is significant not only as a usable domestic tool, but it was, at the time of its creation, a revolutionary labour-saving device. Mrs Potts invention remains associated with a housewife's answer to the domestic drudgery of ironing.Iron,"Mrs Potts" pattern iron. Semi-circular or 'D' shaped wood handle and wood knob.Mrs Pottsflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, iron, clothes iron, flat iron, laundry, sad iron, mrs potts

In 1902, William E Sessions and other family members purchased a controlling interest in the E.N. Welch Company, a clock manufacturer located in Forestville, Connecticut. Sessions' father owned a foundry located in the town of Bristol, Connecticut that produced cases for E.N Welch Co. On January 9, 1903, the company was reorganized and registered as The “Sessions Clock Company”. Within a few years the Sessions Clock Company was producing clock movements, cases, dials, artwork and castings for their line of mechanical clocks. Between 1903 and 1933 Sessions produced 52 models of mechanical clocks, ranging from Advertisers, large and small clocks with logos of various businesses, to wall, or regulator clocks, and shelf or mantel clocks, designed for the home. Many of the Session clocks from this period are prized by collectors. In 1930, the company expanded to produce electric clocks and timers for radios, while continuing to produce traditional brass mechanical movements. Beginning at the end of World War II Sessions W Model (electric) was widely used by various casting companies for their clocks. The dial of the W Model read Movement by Sessions. In the early 1950s Sessions begin to produce timers for television. In 1956, Sessions was absorbed by a company interested mainly in their timing devices. In 1959, William K. Sessions, grandson of William E. Sessions left the Sessions Clock Company and formed the New England Clock Company. In 1960, one of the Sessions Clock buildings was sold to the Bristol Instrument Gears Company. Kept as the Sessions Company, the new owners ran the operation until 1969 when changes in the market forced the Sessions Company into liquidation. In 1970, the remaining buildings were sold to Dabko Industries, a machine parts manufacturer.The item marks a time when clock production in America was at it’s peak producing clocks for sale in many countries, they were keenly priced, mass produced and available to all. The company had a relatively short life span life regards clock manufacture later diversifying into electric timer mechanisms. Yet it was perhaps inevitable with the advent of electricity along with stiff competition from other clock manufactures that would ultimately herald the end in 1935 of the Sessions company's ability to continue manufacturing mechanical clocks. Clock mantle type face set in a painted black case designed to represent a Greek building with gold decorative pillars. Free standing with decorative feet. No markings or inscriptions on clock case or mechanism flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sessions, mantel clock, clock, clock industries

This Minton floor tile is from the wreck of the Loch Ard. The iron-hulled clipper ship from the Loch Line was heading for Port Phillip from London, when it ran into the cliffs of Mutton Bird Island near Port Campbell. The Loch Ard was laden with high-value cargo including luxury goods intended for display at the Melbourne International Exhibition in 1880. One notable survivor from the ship’s freight manifest was the well-packed Minton porcelain peacock, a two-meter high ceramic masterpiece of vivid glazed colours. (This is also on display in the Great Circle Gallery). The almost total loss of life and property from the Loch Ard registered as a shocking tragedy for the Colony of Victoria, at a time when social confidence and economic optimism were otherwise high. The wealth generated from Gold and Wool was increasingly being spent on grandiose private residences and imposing public buildings. The demand for quality furnishings and fittings was therefore strong. Among the products consigned to burgeoning colonial markets by the Milton Pottery at Stoke upon Trent, were their new range of colourfully patterned but very durable floor tiles ideal for the high-traffic spaces in the large civic buildings then being constructed in Australia and America. These floor tiles were “encaustic”, meaning that their designs and colours were encased “within” the depth of the tile. Rather than their decorative patterns being glazed onto the surface of the tile, their inlaid designs were created during the manufacturing process, as “coloured slips” (or liquid clay) were poured into a deep pre-moulded casting. When fired, the resulting tile was colour-fast and design-fast. The Minton floor tile is significant for its hard-wearing yet attractive design. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history. A square Minton floor tile with a white background, and beige, dark blue, light blue and black geometric pattern as well as leaves in the design. The tile has corner broken off and some chipping along the edges. The reverse has five rows of five evenly spaced holes. The back of the tile has inscriptions. Made by Minton & Co. at Stoke upon Trent. This encaustic floor tile was recovered from the shipwreck of the LOCH ARD. Branded "... MINTON&CO / PATENT / STOKE UPON TRENT"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, minton floor tile, encaustic tile, melbourne international exhibition, floor tile, minton tile, minton & co., stoke upon trent

The toy soldier is a relic from the shipwreck of the LOCH ARD in 1878. It has a companion piece in the Flagstaff Hill collection. The toy soldier is unpainted, but the style of uniform, and the weapons carried (a musket and a basket-handled cutlass), indicate it is a representation of the Napoleonic Wars period from the beginning of the nineteenth century. Mass-produced toy soldiers made of cast metal (lead or tin) became popular during the 1800s. Heyde of Germany manufactured silhouette-shaped ‘flats’ early in the century; then Mignot of France released three-dimensional ‘solids’; and later (1893) Britain of England made ‘hollow cast’ figures. These innovations were designed to make sets of toy soldiers more affordable for middle and lower-class children, extending the market beyond the intricately made and hand-crafted replicas that were the preserve of the rich in the eighteenth century. Wooden military figures, specially carved and unpainted ones, were therefore not particularly common at the time when the LOCH ARD went down on Victoria’s southwest coast. Mignot was the first to sell unpainted soldiers, leaving their customers to fill in the colours according to their own patriotic preferences. If a similar attitude is assumed for the two virtually identical figures in the Flagstaff Hill collection, it is possible they were part of a new set intended for sale, rather than part of a passenger’s existing collection. A similarly light composite material of sawdust, glue and linseed oil (press-moulded onto a metal frame) was used by the German firm O & M Hausler to create toy soldiers, but this type of modelling was not commercialised until after 1912. The first heat-moulded plastic toy soldiers did not become available until after 1945.The toy soldier represents a 19th century child's interest in military history. The item is one of two toy soldiers recovered from the Loch Ard that are in Flagstaff Hill's collection. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.An unpainted replica or toy soldier, presented in a Napoleonic Wars era uniform. The moulded figure is in a standing posture and is bearing a musket at the slope-arms position, with a sabre or cutlass slung behind. It wears a plumed helmet, short-fronted coat with longer buttoned tails at the back, button-fastened bib-front trousers, a pair of crossed bandoliers, and tasselled shoulder epaulettes. The figure is a creamy colour with red-brown stains on the head and shoulder. There is a hole in the end of the musket. The model is detailed and sharp. It was recovered from the wreck of the Loch Ard.Cataloguing numbers: “6599” on the rear of the left trouser leg “PWO 2308” on the sole of the left boot, (partially obscuring “R122” written in biro) “2218” on the sole of the right boot.flagstaff hill, warrnambool, loch ard, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, napoleonic uniform, toy soldier, replica soldier

The suitcase didn't catch on until the end of the 19th century, it was quite literally as a case for suits. A typical suitcase came equipped with an inner sleeve for storing shirts, and sometimes a little hatbox on the side. But even in the early 20th century, the "dress-suit case" was only one of countless styles of container travellers could buy, from steamer trunks to club bags. By the late 19th century a significant point was reached in the history of transportation, it was the beginning of mass tourism, rather than travel for travels sake made use of by the wealthy in society. Travel wasn't just for the wealthy any more but everyone. Suitcases began as an afterthought in the luggage and leather goods business, but they soon became the very symbol of travel. An 1897 wholesale price list included the words "suitcase" only twice in a 20-page list of luggage types. In America a 1907 T. Eaton & Co. Catalogue, trunks took up a full page while suitcases share a page with club bags and valises. In a 1911 a United Company catalogue, now displayed around 40 per cent of the advertisements were for suitcases. Early suitcases were lighter and more portable than trunks, but they were still bulky by today's standards. Leather, canvas, wicker or thick rubbery cloth was stretched over a rigid wood or steel frame. Corners were rounded out using brass or leather caps and some had wooden rails running around the case. Until steamship travel declined during the mid-20th century, many of these types of the case were advertised as waterproof with some lightweight models marketed specifically to women. The item gives us a snap-shot as to how people undertook travelling during a time when undertaking a journey for pleasure at the end of the 19th century was mainly only for the wealthy. This time saw the beginnings of change from the wealthy in society being able to travel, to the onset of mass tourism. Along with this change in societal norms saw many innervation's to the design of luggage as it became a fashionable item.Suitcase/trunk with inner tray, brown canvas covered with 2 hinge clamps and a central Eagle lock, four wooden lateral buffer railed slats running around the case, leather handles each end. noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, suitcase

The suitcase didn't catch on until the end of the 19th century, it was quite literally as a case for suits. A typical suitcase came equipped with an inner sleeve for storing shirts, and sometimes a little hat box on the side. But even in the early 20th century, the "dress-suit case" was only one of countless styles of container travellers could buy, from steamer trunks to club bags. By the late 19th century a significant point was reached in the history of transportation, it was the beginning of mass tourism, rather than travel for travels sake made use of by the wealthy in society. Travel wasn't just for the wealthy any more but everyone. Suitcases began as an afterthought in the luggage and leather goods business, but they soon became the very symbol of travel. An 1897 wholesale price list included the words "suitcase" only twice in a 20-page list of luggage types. In America a 1907 T. Eaton & Co. Catalogue, trunks took up a full page while suitcases share a page with club bags and valises. In a 1911 a United Company catalogue, now displayed around 40 per cent of the advertisements were for suitcases. Early suitcases were lighter and more portable than trunks, but they were still bulky by today's standards. Leather, canvas, wicker or thick rubbery cloth was stretched over a rigid wood or steel frame. Corners were rounded out using brass or leather caps and some had wooden rails running around the case. Until steamship travel declined during the mid-20th century, many of these types of the case were advertised as waterproof with some lightweight models marketed specifically to women. The item gives us a snap-shot as to how people undertook travelling during a time when undertaking a journey for pleasure at the end of the 19th century was mainly only for the wealthy. This time saw the beginnings of change from the wealthy in society being able to travel, to the onset of mass tourism. Along with this change in societal norms saw many innervations to the design of luggage as it became a fashionable item.Suitcase, brown canvas with three wooden reinforcing lateral rails running around the case, leather handle each end (one broken), two locks.. Maker Pettigrew & Stephens Ltd Glasgow. "A.T.Cox 354/3 Riversdale Rd Campberwell, Vic Australia" and "W.ON" painted over on each endflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, suitcase,