Made by the cousin of Brighton local Olga Black. The cousin gave her the doll in 1937, when Olga was around seven years old. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Handmade painted wooden bead doll representing a sailor. Cream coloured body and limbs and pink head. The body is made from one long oval bead and the limbs from small round beads.doll, child's toy, childhood, sailor, olga black

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with colour image and black text. Image shows a full length brown horse with bridle.Front: PARSONS FARM ANIMAL SERIES No.3 \ SUFFOLK \ The Suffolk, often known as the Suffolk Punch, originated in the County of Suffolk, England \ and is noted for its hardiness. From 15 to 16 hands in height. The Suffolk in general is smaller than \ the Clydesdale. The head is rather coarse, with the neck short. The body long deep and wide with \ a round full appearance. The croup is straight and legs short and free from leather. The invariable \ colour is chestnut, varying from light to dark.wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

Samuel John CRUMP John Crump obtained a Diploma in Art (Pottery) in 1968 at the Ballarat Technical Art School. He lectured in ceramics at Ballarat Teachers' College (1972-1976) and State College Victoria Ballarat (1976 and 1991), as well as making functional stoneware, decorative and architectural forms and ceramic panels. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Wheel thrown pot with burnished Black Hill ochre slip over a local stoneware body. The pot was woodfired to 1300 degrees celcius in a Hoffman kiln. Gift of John Crump in memory of Barbara Crump, Head of the School of Education Teaching Resource Centre.Incised on base 'Crump'art, artwork, john crump, ceramics, wood fired, black hill, local clay

The Rocky Valley Dam is located on the Bogong High Plains, near Falls Creek, Victoria. The dam is man-made and has a capacity of 28,000 megalitres (990×106 cu ft). At an elevation of 1600m, Rocky Valley Dam is the highest significant body of water in Australia. The dam was created for the Kiewa Hydroelectric Scheme. Just a short distance from the heart of the village, the lake provides a playground for a range of aquatic activities. It is also utilised in snow making for the Falls Creek ski resort. Work began on the Rocky Valley Dam site in early 1947 and continued until May. It resumed in October after the winter and a camp for the accommodation of workmen was commenced at this time. Work continued in 1948 with the establishment of work facilities, including the erection of two large excavators. The Rocky Valley Dam was completed in 1959.These images are significant as they capture work carried out to build the wall at Rocky Valley near Falls Creek, VictoriaThree black and white images showing work on the Rocky Valley Dam, Victoriarocky valley dam, kiewa hydroelectric scheme, falls creek

Theodolites are a highly accurate instrument that measures angles between designated visible points in the horizontal and vertical planes. The theodolite has a long history, with the term first found in 1571 in a surveying textbook 'A geometric practice named Pantometria' by Leonard Digges. (source https://en.wikipedia.org/wiki/Theodolite). Theodolites are used by surveyors as part of their everyday work and although there is no specific information regarding the provenance of this particular one it is assumed it was used locally by the Shire of Marong and / or the Lands Department. Edwin Watts started the company in 1856, trading up to 1920s as E.R. Watts & Son with E. R. Watts & Son Ltd amalgamating with Adam Hilger Ltd to form Hilger & Watts in 1948.0442.1 A black and grey theodolite no 39161 made by Watts & Sons. Various moving parts showing signs of extensive use particularly on the uprights on the main body and around knobs and dials where the paint is worn back to brass. Is housed in original box with key, oil container and pin. 0442.2 handwritten instructions for making adjustments to the Theodolite written on the back of Road Users' Association of Victoria letterhead note paper.Watts & Sons / London / 5974 For N H Seward / Melbournelands and survey department bendigo, shire of marong

The collection of thirteen horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Hampden Buggy replicates the vehicle that enjoyed respect from the public from c.1800's. It came in various types.A model of a Hampden buggy, c1900. The body is low to the ground, making it easy for passengers to board and disembark as well as allowing for speed and is lightweight for one horse to pull, making the journey cheaper than using four horses. It has four spoked wheels, two large and two small which have gold painted mudguards. It has brown padded seating, gold painted armrests and two coach lamps. There are two long shafts on each side to surround the biscuit coloured horsel with a white tail and mane, which has the necessary horse tack for carriage use to help the driver communicate with the horse. The original Hampden buggy was the inspiration of K.Booth, an American coach maker. It was designed for the ladies to show off their finery. Keep Bros. and Wood of Melbourne built many variations of buggies for wet or dry conditions.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses

The collection of thirteen horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a one horse drawn buggy replicates the vehicle that enjoyed respect from the public from 1833 until 1935. It came in four types.A model of a black enclosed buggy and horse, with two doors and two tinted windows. It is a two wheeled two passenger horse drawn carriage where the driver sits behind on the high seat with silver armrests. The body is low to the ground, making it easy for passengers to board and disembark as well as allowing for speed and is lightweight for one horse to pull, making the journey cheaper than using four horses. It has two black spoked wheels with silver rims, brown seating, silver handles on the doors and two black coach lamps at the back. There is a silver step on the side of the body near the footrest to aid alighting and disembarking.There are two long shafts on each side to surround the horse. It has a model of a brown coloured horse with a white tail and mane, which has the necessary horse tack for carriage use to help the driver communicate with the horse. replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses

Blue cloth-bound hard cover book. Australian flag and title on front in black with decorative design. Beginnings of separation of cover from body at front & back. Minor damage to cover. 56 illustrations from photographs. 299 pp. Good condition.Label inside front cover, 'Glenaroua Public Hall and Library/No. 150/This book to be Returned Within One Month Undamaged'. Front flyleaf, Kilmore Mechanics Institute stamp.australian history, kilmore mechanics institute library.

In 2023 The Royal Australian Mint has released a Legacy Centenary Coin. The coin is available in a limited mintage of 30,000. The reverse of the coin features a sculpted interpretation of the Legacy logo torch cupped by a pair of hands with the title text ‘Centenary of Legacy • 100 Years of Service’ circling the design around the edge of the coin. The front side of the coin features the Queen Elizabeth II Memorial Obverse which will only be featured on coins made in 2023, making this coin even more collectible. The coin was released in two different presentation cards. Australia Post also issued a stamp featuring the Legacy Torch. It will be in general circulation as well as available as commemorative packs and first day covers. The stamp design presents the iconic branding of Legacy Australia and echoes the colours of the Australian flag. The torch design prominently placed in the stamp represents the undying flame of service and sacrifice, the foundation of Legacy’s existence. The body of the torch is presented in a gold colour, signifying generosity and compassion. In its wreath of laurel, with its points inverted in remembrance, is the guerdon of honour, to represent those who gave their lives for their country. The coin was released in two different presentation cards. One was $15. This one appears with the Legacy Stamp and postmarked as a first day of issue and cost $18.95 in a limited edition of 7,000. A record that Legacy's reputation is such that the centenary was marked by the Royal Mint and Australia Post.An uncirculated Australian $1 coin in a protective pack with the Legacy Stamp.100th anniversary, centenary

1932 VY Vauxhall Coupe Bodied in Australia by Holden Motor Body Builders.The great depression hit Australia in 1932 and less than500 vehicles were bodied by Holden that year. The first British car fitted with a gear-box "embodying the now famous Synchro-Mesh principle", a system of gear change making every driver an expert. Providing a faultless shift-speed operation it was fitted to all Cadets from late 1931.[Engine in line six Cylinder 2048cc Gearbox- Three forward speed with synchromesh on 2nd and third gears. Burgundy 2 door Vauxhall coupe with black leather clad roof, Dicky seat in rear.automobile, holden, bodied

Watchmaker History: James McCabe was born in 1748. He was the son of Patrick McCabe, a notable watchmaker from Lurgan in County Armagh, Ireland. James McCabe immigrated to London in 1775 and established his business in Bells Building, Fleet Street, on 2nd April 1781. He was made an Honorary Freeman of the Clockmakers Company. The House of McCabe was renowned for the sheer variety of its designs, and the creativity and prestige of its manufacture were celebrated and revered by owners worldwide. These pieces remain highly collectable today and fetch increasingly higher prices at auction houses worldwide. Watch association with the Loch Ard: The watch was saved from the sea when discovered on the body of Mrs Rebecca Carmichael from Dublin and handed to Eva Carmichael, the only family member to survive the fatal wreck of the Loch Ard on 1st June 1878. Eva gifted the watch to her husband, Thomas Achilles Townsend when they married in 1884; his name is engraved on the rear movement cover. The watch was held by the family until 2011 when they decided to bring the watch, to Australia for auction. At this time the watch was in the possession of Eva Carmichael's grandson, Robert Townsend. Given its connection with the Loch Ard shipwreck, it was purchased at auction by Flagstaff Hill Maritime Village on 25th October 2011 to add to its Loch Ard collection and is currently referred to as the Carmichael watch. It is now on display alongside the Minton Peacock, which also survived the Loch Ard shipwreck, and other artefacts from the collection. James McCabe was originally a Belfast watchmaker who had moved his business to London. At the time James McCabe was much esteemed for producing fine watches and clocks, especially for export to India. Only the best watches were inscribed “James McCabe” and many with highly decorated cases were intended for the Indian market. Contemporary newspaper accounts of the watch's discovery echoed a Carmichael family tradition that the watch had been intended as a gift from the City of Dublin to King George IV to mark his planned visit to the city in 1821, however, there is no evidence to support this theory. Dr Evory Carmichael, according to some accounts, bought this watch from a nobleman for about £100 at some point and so it travelled with him on his final fateful journey to Australia. Today we can only guess at the actions of Mrs Carmichael in the chaos and darkness of the pre-dawn shipwreck. Perhaps the two items that were found on her body, the watch and a locket, were items that reminded her of those she held most dear, her husband and her family. When Mrs Carmichael's body was washed ashore the watch was found secreted in the waistband of her dress. In its own right the watch is of artistic and monetary value and is a rare and beautiful object depicting watch making in the early 19th century. It is a historically significant object in it’s own right and there is additional importance, surviving a significant event in the maritime history of Victoria. The wreck of the Loch Ard, Victoria's greatest maritime disaster has also been declared an event of National Significance because of its strong connection to Australia's immigration and maritime history. The watch, together with the Loch Ard Peacock, make up the two most significant shipwreck artefacts in Australia. Both of these items are of great social significance to not only local people but the wider Australian community. Funding for the watches purchase came from six local trusts and one anonymous citizen and is now on permanent display. Both these artefacts symbolise and helps to interpret the stories of survival along the Shipwreck Coast. Fob Watch, known as the "Carmichael Watch" or the "Loch Ard Watch". 1814 fob pocket watch belonging to the Carmichael family, recovered from the wreck of the Loch Ard. Fob watch (or pocket watch)and winding key, made by James McCabe and Son, of Cornhill, London. The watch is in excellent condition and its design is decorative and intricate. The gold face is covered by glass. The gold rear cover is hinged over a silver inner cover that includes the winding hole. The watch has a knob with a swinging ring from which it can be hung. The dial of the gold watch face is textured and has raised Arabic numerals and every minute is marked around the perimeter by a dot, with the 5-minute dots slightly larger. The numerals and dots are a different coloured gold than the rest of the face. The centre of the face has a wavy pattern fanning out to the base of the numerals. The hour and minute hands are of a dark colour. The stems of the hands are a wavy shape and finish with spade shaped tips; the tip of the hour hand is larger than that of the minute hand. The hour hand reaches to the base of the numerals and the minute hand is long enough to rest between the minute dots. The back of the watch is decorated with a detailed design on a textured gold background. The design is embossed in coloured metals; gold, silver, greenish-gold and pink. In the centre is a dove resting on leaves of a pot plant that sits on a silver circular base. Another dove is flying above it, and their beaks touch together. On the right of the base of the pot plant is a dog resting on its hind legs, body facing away from the plant and head twisted around to look at the birds. On the sides of this design and meeting at the base are sprigs of leaves and buds. Around this central design is a rope-like border. Around the perimeter of the case is a border of leaves and budding stems. The inside of this cover has embossed hallmarks, numbers and etched markings indicating that the watch is 18 carat gold, made by James McCabe, assayed in London in 1814 and the case may have been made by Daniel Willmott, case maker. The silver inner workings cover has a full name beautifully engraved on it. There is a winding hole that accesses a square-ended lever for the key to fit over. The handle of the watch is a twisted gold knob with a hollow ‘D’-shaped swinging ring attached to the end of it. This knob also has a hallmark.On the silver inner workings cover “Thomas Achilles Townshend” is engraved, underscored by a thin, delicately decorated line. On the gold handle is the logo of a crown with “18”’ next to it. Inside the gold rear case is stamped “DW’. Under that is etched “JAN 77 II”. Underneath this are 3 logos; a logo “leopard, crowned”’, a logo “ crown on top of 18”, and a logo “T”. Under these 3 symbols is part of a stamp that could possibly be “IMC”. Under this is “ ’ 5 9 4 ”. Other numbers, symbols and letters are etched into this case including “15001”, “2/5/19”. Others are difficult to read.warrnambool, shipwrecked coast, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, shipwrecked artefact, shipwreck artefact, carmichael, townshend, townsend, carmichael watch, loch ard watch, pocket watch, loch ard, 1st june 1878, james mccabe, thomas walker, robert townshend, loch ard gorge, great ocean road, victoria., memorial headstone

Sunil Gupta is a British/Canadian citizen, (b. New Delhi 1953) MA (RCA) PhD (Westminster) who lives in London and has been involved with independent photography as a critical practice for many years focusing on race, migration and queer issues. A retrospective was shown at The Photographers’ Gallery, London (2020/21) and The Image Center, Toronto. He is a Professorial Fellow at UCA, Farnham. His latest book is “We Were Here: Sexuality, Photography, and Cultural Difference, Selected Writings by Sunil Gupta”, Aperture New York 2022. His work is in many private and public collections including; the Tokyo Museum of Photography, Philadelphia Museum of Art, Royal Ontario Museum, Tate, Metropolitan Museum of Art and the Museum of Modern Art. His work is represented by Hales Gallery (New York, London), Materià Gallery (Rome), Stephen Bulger Gallery (Toronto) and Vadehra Art Gallery (New Delhi).Part of Queer PHOTO (Midsumm x PHOTO 2024) photography, british photography, queer photography, race, migration, portrait

A baleen whale has hard bristly baleen that hangs from its upper jaw inside its mouth instead of teeth. Baleen is made from a protein called keratin, just like human hair and fingernails, and its colour can vary between species, from black to yellow or white. The whale uses the tough, flexible baleen like a sieve to catch its food, filtering the small sea creatures out of the sea water it releases from its mouth. In the19th Century, whales were hunted for the products that could be made from their bodies, such as oil for lubricating machinery, soap making, lamps, heaters and fuel for the lighthouse lights. The flexible baleen was used for whip handles, carriage springs and umbrella ribs. It was also used for the skirt hoops, hat ribs, and rigid ‘stays’ in tightly fitting bodices to enhance their figures. The Southern Right Whales, as well as Blue Whales and Humpback Whales, are baleen whales. The Southern Rights annually visit the ocean off the southwest coast during the breeding season. In the early 1800s whalers hunted along this coastline in their dangerous pursuit of money for the precious cargoes of whale oil and bones. The population of these large animals dwindled quickly and by the late 1840s the whaling industry dwindled. Whaling recommenced from the 1940s to the 1980s when the whale products were used to make margarine and dog food. The baleen sample has been used to educate people about whaling and about the properties of baleen. The baleen sample is significant for its association with 19th century women's fashion. It helps to understand how garments were supported to shape a woman's figure. The baleen sample represents a period when whales were hunted and killed to provide income and products for for the local settlers and for the export industry.Baleen sample from a whale's jaw. Its black shiny hard yet flexible surface is slightly rippled and textured. One end is fringed and the other and a smooth cut edge. The colour varies in places, with stripy brown colouring. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, baleen, whalebone, baleen whale, keratin, 19th century, whaling industry, women's fashion, stays, bodice, women's figures, fashion, clothing, whale oil, baleen colour, whale hunting, whale products, southern right whale, blue whale, humpback whale, southwest victoria, whalers, whale bones

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

Magazine, published by the Metropolitan Transit Authority of Victoria "Met Lines" (Metlines) - A4, printed on white gloss paper, centre stapled with the MTA logo or symbol. Issued under the name of Kevin Shea as Chairman. Continues from Reg Item 1183 "Met Lines" - printed in an A4 version. Notes Editor as Judi Lalor and writer Sandra McLaren. Chris Astridge Major tram and bus items listed. Tramway names only listed, not railway. .1 - March 1989 - 20 pages - Track gangs, graffiti, signalling, making recruitment videos, body building at Preston Workshops. .2 - June 1989 - 16 pages - Flinders St station cover theme - 16 pages - modifications to Z class tram lights to improve visibility at stops, payroll, Wattle Park rejuvenation project, Essendon Depot Soccer team, Ian Barkla on Puffing Billy. .3 - September 1989 - 20 pages - Show grounds theme - Met Planning, Metplan, Met Plan, Jolimont Rail Yards, Mill Park Light rail extension, photo of 2004, The Met shop, 60th anniversary of Camberwell tram depot, apprentice awards, Melbourne Stamp show 1989, Wattle Park, New billiard table at Malvern, recycling of W2 trams in to mobile Tramburgers - Jim Johnstone and Greg Hart - was going to franchise 60 trams cut in half. (See also Reg Item 406 for other background - also see Jim Johnson) .4 - December 1989 - 20 pages - Christmas theme cover - "On the buses", the Met Bus workshop, details the bus maintenance, bundy clocks - where they were maintained, size of the bus fleet and major depots. Festoon lighting at Flinders St station and retirement of Howard Smith - see image i5. For next year 1990 - see Reg Item 1185.trams, tramways, the met, mta, preston workshops, tramcars, repairs, wattle park, essendon depot, metplan, camberwell depot, postage stamps, post office, malvern depot, scrapped trams, w2 class, flinders st station, bundy clock, buses, tram 2004

This chronometer was made around 1936 and has been on display at Flagstaff Hill for over 40 years as part of the exhibit of the ‘Reginald M’, an Australian-built, 19ss, coastal trader vessel. A chronometer is an accurate mechanical instrument used for measuring time. It is constructed carefully to remain stable even under the changing conditions of seafaring life such as temperature, humidity and air pressure. The Master or Navigator of a ship could use the chronometer and the positions of celestial bodies to calculate the ship’s latitude at sea. In 1905 the business Chronometerwerke GmbH was formed in Frankfurt, Germany, to supply the country with high-quality mechanical chronometers and ship clocks for their maritime trade, making the country independent of other international suppliers such as those in England. In 1938 the firm was renamed Wempe Chronometerwerke. The business continues today. Its products now include its well-known chronometers, battery-powered ship clocks, ship’s bell clocks, barometers, barographs, thermometers, hygrometers, comfort meters to measure temperature and humidity, and wristwatches. The company also performs chronometer testing facilities for the State’s Weights and Measures office. The article written by Givi in July 2022 “The Basics of Marine Meteorology – a Guide for Seafarers” refers to the weather’s signs and patterns being repeated over and over, and the recording of these observations helps forecasters predict changes in the weather. The chronometer is an example of a mechanical navigational marine instrument in use in the early to the mid-20th century. The maker is significant as part of a German government initiative to be self-sufficient in the production of good quality marine technology. This chronometer is significant as part of the exhibit, the Australian-built vessel, 1922 coastal trader ‘Reginald M’, listed on the Australian Register of Historic Vessels and on display for over 40 years.Marine chronometer or marine clock, brass case, glass cover, Roman numerals, 24-hour numbers beside them. Two black hands, a keyhole for winding and ventilation holes in the side. The base has a collar with four machined mounting holes. Inscriptions are on the clock’s face."Made in Germany" and "WEMPE / CHRONOMETERWERKE / HAMBURG"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, marine meteorology, horology, chronometer, marine technology, latitude, marine navigation, mechanical instrument, scientific instrument, ship clock, chromometerwerke gmbh, wempe chronometerwerke, marine clock

Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork

The poster has the following instructions for the treatment of snake bite:- "A ligature, that is, a strong string or narrow strip of clothing if no string is to be had, should be at once applied near the bitten part, and between the bite and the heart. tight enough to stop the circulation. The bitten part should then be immediately cut out by making, in the manner shown in the engravings, two curved incisions, which should be, where practicable, a quarter of an inch deep. The wound should then be well sucked for then minutes, by persons who have no wound, cut, sore or ulcer in their mouths, or on their lips. When the bite is on the head, face or body, or on any place where a ligature cannot be applied, the bitten part should be kept tightly pinched up till it can be cut out." The poster was authorised by T.R. Wilson, Secretary of Melbourne's Central Board of Health, between 1865 and 1881. It was printed by John Ferres, Government Printer, Melbourne, 1865-1881. The Central Board of Health, Melbourne, was in existence between 1855 and 1889. This poster has significance as an early record of public health instruction issued by the Central Board of Health in Melbourne for the treatment of snake-bite. The materials used to mount and frame the poster are also of significance, with the printing being done on fabric, and the newspaper inserted between the poster and the backboards.Timber-framed rectangular poster with printed instructions for treating a snake bite. The poster is printed on fabric. Between the poster and the backboards is a layer of newspaper, revealed by the damaged fabric. The back of the frame is filled by three vertical timber panels that are strengthened by three horizontal timber slats across the top, centre and bottom. The timbers are fixed in place with nails. The edges of the frame at the back have remnants of paper. Two metal eyelets are inserted into the top edge of the frame. The poster was issued by the Central Board of Health in Melbourne and printed by the Government Printer in Melbourne. It has the British Coat of Arms on top, diagrams and text, plus sections of newsprint.Symbol of [British Coat of Arms] between the letters "V." and "R." Headline "CENTRAL BOARD OF HEALTH" Subheading "WHAT TO DO IN CASE OF SNAKE-BITE" Instructions are printed on the poster. Diagrams include a bite on the knee and bites on the hand. Publisher "Central Board of Health, Melbourne, 28th February ----" "(By Order of the Board), T.R. WILSON, Secretary" "BY AUTHORITY, - - - - - - - - -, GOVERNMENT PRINTER, MELBOURNE" Newsprint includes:- "Duties in the bay were put ... --rried out. On ... harbour boat's cr-- ... , and formed of sufficient ... given ... to vessels in distress, and ... life-b- ... the help of a few..." and "last, a Gold English ... engraved -- cove-- to leave it at F.P. ..."flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, central board of health, melbourne, t.r. wilson, secretasry, government printer, john ferres, snake-bite, treatment, first aid, 19th century, poster, government health announcement

Age (Melbourne, Vic. : 1854 - 1954), Monday 6 August 1928, page 9 ________________________________________ RINGWOOD WAR MEMORIAL CLOCK TOWER UNVEILED A CIVIC CEREMONY. The people of Ringwood have erected a beautiful stone clock tower at a cost of £1797, as a memorial to those who served in the war. The unveiling ceremony was performed by the mayor of Ringwood (Cr. W. Mackinlay) on Saturday. “Bleak conditions with showers intervening prevailed at Ringwood on Saturday afternoon, when the unveiling ceremony of the soldiers' memorial clock tower, performed by the mayor (Cr. W. Mackinlay) took place in the presence of a Iarge and representative gathering. The ceremony was solely a civic one. A majority of members of the local branch of the R.S.S.I.L.A. had wished that Sir John Monash be invited to take a prominent part in the proceedings, but the trustees elected otherwise. The Salvation Army band from Box Hill rendered suitable music, while Sergeant E. P. Taylor (37th Battalion, A.I.F) sounded the Reveille and The Last Post impressively. Among those present were Mr. Edgar, M.L.C., the vicar of Ringwood (Rev. E. E. Robinson), Rev. G. McLaren (Methodist), the memorial trustees (Cr. J. B. McAlpin, Messrs, J. W. Barrett, A. H. Locke, J. A. Williams and A. G. Ashley). The last two mentioned are president and honorary secretary respectively of the local branch of the R.S.A. Soldier delegates from Camberwell and Mitcham were also present. At the outset the mayor said a few words would not be amiss concerning why the memorial had been so long delayed in being erected. In September, 1919, a public committee was formed, with Mr. A. V. Greenwood as chairman, to consider the erection of a suitable memorial to the soldiers. Among the more important suggestions had been the building of a hall and clubrooms on land generously offered by Mr. R. W. Dawes. This project had been abandoned, also the proposed erection of a huge memorial building, at a cost of £5000, on the site of the present town hall. As two years had passed without anything of a definite nature eventuating it was decided to elect five trustees, comprising three citizens and the president and secretary of the Returned Soldiers' Association with full power to act. In all propositions the trustees had been faced with financial difficulties, but about the time of the completion of the plans of the memorial tower Ringwood became a borough, and the new council was appealed to, and provided £500 to make the erection of the memorial possible. The architect, (Mr. H. Norris) had refused to take anything beyond out-of-pocket expenses (£16), while the engineer (Mr. Lucas) had saved a goodly sum by supervising the work. The total funds at the disposal of the trustees, including the council's donation, was, in round figures £1807. The tower complete would cost £1690; honor roll, £77, and fees paid for various designs had amounted to £30. The total expenditure was £1797, leaving a credit balance of £10. Before the unveiling the mayor, in again addressing the citizens, said he deemed it a privilege to perform such a task in connection with so splendid a memorial. The citizens had erected it as an expression of heartfelt gratitude in memory, first of all, of those heroes who gave not only their services, but their lives, when the call came in the common cause of right and liberty, upon which the British Empire was built. This memorial was also the tribute of the citizens in a degree of appreciation to those men who so un-selfishly and ungrudgingly volunteered their services in the Great War. The memorial, while commemorating the glorious deeds of Australian manhood, was not intended, in any sense, as a glorification of war. The memorial would tend to bring to one's mind the blessing of peace in contrast to the curse of hostilities. They were gathered there that afternoon to do honor to all those who volunteered for service to the Great War, but they wished to assure the friends and relatives of those who paid the supreme sacrifice of their sincere sympathy and trust. If ever in the future this fair southern land of ours was threatened by an invader he felt sure that Australian manhood would not hesitate to rally to the call to duty and defend the freedom of their country. Following prayer by Rev. G. McLaren (Methodist), the memorial clock tower was unveiled, the acting mayoress (Mrs. Mackinlay) cutting the cord, after which the making over of the memorial to the borough council took place, the president of the local branch of the R.S.A. (Mr. J. A. Williams) stating he had pleasure in accepting the key on behalf of the trustees. As the council was the permanent governing body the key would be handed back to the mayor, the memorial being given into the safety and custody of the council. During the proceedings the hymns O God, Our Help in Ages Past and Lest We Forget were rendered, the choirs of various denominations joining in the singing. Benediction was pronounced by the vicar of Ringwood (Rev. E. E. Robinson).” Black and white photograph (2 copies- one original mounted on cardboard backing)Written on rear of backing of original: "Opening of clock tower by Mayor W. Mackinlay, 4.8.1928." Written on back of copy" "Mayor Mackinlay dedicating Ringwood clocktower in original position at end of Warrandyte Rd. 1928. Maroondah Hwy on right."

Lambert Ormsby was a New Zealand surgeon who migrated to Ireland. He described his inhaler in a letter to the Lancet in 1877.Ormsby listed the advantages of his inhaler as simple, inexpensive, small quantity required to produce sleep, prevents evaporation of ether, portable and small (can be carried in pocket), short time to complete anaesthesia (two minutes) and safe. Disadvantages of this apparatus were that it had to be removed in order to recharge the sponge with ether or when anaesthesia becomes too deep. Considerable carbon dioxide accumulation developed and there would also be some oxygen lack. In thirty years of use, Ormsby's Inhaler underwent certain modifications, an exhalation valve was fitted to the mask and device for recharging the sponge with ether was later added. The Ormsby inhaler was modified by Carter Braine in 1898 with the aim of making it easier to clean. Essentially it is very similar except there is no net around the bag.The inhaler consists of an india-rubber flexible bag enclosed within a net bag to limit expansion. There is a soft metallic mouthpiece with india-rubber tubing around the edge. The tubing had to be purchased separately from the manufacturer. The body contains a wire cage with a similarly shaped hollow sponge into which ether was poured.Maker's details inscribed into metal ring around the bore: Barth Co. London.ormsby, new zealand, carbon dioxide, carbon accumulation, carter braine, portable

This item was used by women to enhance their figure (body) and hold their stockings in place. Although still sometimes used they were mainly used prior to the making of panyhose approximately 1960.Flesh coloured leaf embriodered cotton material corset with rigid metal stays and clips, two elasticised strips on sides and four suspenders. Six elastic straps with buckles.clothing and dress, george evans collection

The Country Roads Board was established in 1913 to co-ordinate the construction and maintenance of main roads and bridges and it was abolished in 1983 making way for a new body.crb, roads, victoria