This glass epergne was first owned by John Sanderson's grandmother, who lived in Wandin (Clegg Road) until the 1940s. She first purchased it in 1920 and used it as a vase before passing it on to her daughter Norma Spicer. Epergne's were first created during the early 18th century France as a table centrepiece to display 'exotic' fruits and cakes from France's colonies. They were originally made of silver, however, the late 18th century saw a rise in epergnes made of porcelain due to the growing status of the European porcelain industry. The late 19th century saw another shift as Victorian and Art glass became the name of the day, and most epergne's became increasingly more complex glass works, no longer used for holding food. This epergne is the product of these later glasswork vases, reflecting 1920s interest in uranium glass and clouded geometric patterns. Epergnes like this filtered out of popularity after World War II as large dining sets and table centrepieces became less important to every day life. Those that remained transferred to more useful roles within the household: this one being used as a vase for most of its life. Green tinted glass epergne with white clouded vertical stripes. Glass thick and slightly opaque, possibly uranium glass. Base is a fruit bowl with scalloped/ruffle edges and middle coming up into a triangle. The very edges of the fruit bowl and clouded with white and blue. A golden metal notion attaches to the middle of the fruit bowl with a globe shaped connector. Notion looks like a flat gold flower with six petals and three small leaves, with middle of the flower having a screw on which to screw the largest flute. The flower has three small bucket-shaped containers attached to it in which the smaller flutes are placed. Four flutes attach from the very middle, all bell shaped with very ends flaring out into a scalloped/ruffle edge. One large flute is screwed into the middle of the fruit bowl and stands straight up. Three smaller flutes are placed in around the larger one leaning slightly away from the centre.vases, epergne, 1920, 1920s, 20s, twenties, glass, glassware, uranium glass, radium glass, clouded glass, art deco, decorative objects, tableware, wandin, clegg road

HMAS Sydney (III) played a significant role in the Vietnam War, primarily as a transport ship carrying troops, equipment, and supplies from Sydney to Vung Tau. The ship made 25 trips to South Vietnam between 1965 and 1972, earning the nickname "the Vung Tau Ferry"A ship model with ratio of 1:75 of HMAS Sydney. The ship has lime green deck which has two helicopter standing at the front with text P214, 1 helicopter at the back and 3 boats hanging on a side.Ship Model, c1990s HMAS Sydney A 1:75 scale model of HMAS Sydney, a Majestic class light aircraft carrier operated by the Royal Australian Navy (RAN) from 1947-1958, when she was placed in reserve. The need for a sealift capability saw the ship modified for service as a fast toop transport, and re-commiessioned in 1962. In 1965, she sailed on her first voyage to Vung Tau, transporting soldires and equipment to Vietnam. Sydney made 25 voyages to Vietnam between 1965 and 1972, earning the ship nickname "Vung tau Ferry"model, hmas sydney, ran, aircraft carrier, vung tau ferry

The photograph features Anastasios Vlassopoulos (Kioukiouris) with his three daughters-in-law, Ekaterini, Korina and Elena, and three little grandsons. They are from L-R: Ekaterina (nee Paxinos), Korina (nee Raftopoulos), John, Anastasios, baby Aleko held by his grandfather Anastasios, Elena (nee Raftopoulos) and Peter. The photograph was taken in the village of Lahos shortly before Ekaterina and son Peter emigrated to Australia to be reunited with her husband, John. Elena remained in Ithaca, as did Korina whose son Aleko Vlassopoulos migrated to Australia following World War 2. Ithacan migration to Australia before World War 2 was unassisted. Generally it followed a pattern of chain migration with family members following one another. The men arrived first with the intention of either returning or saving enough money to bring their wives and families out when they had become financially established. Most men did not return. Some families were reunited while some wives and children never saw their husbands and fathers again.A black and white photograph of a family group of seven people - an elderly man, three young women, two little boys and and a baby.chain. migration