In 1806, William Colgate, a soap and candle maker, opened up a starch, soap and candle factory on Dutch Street in New York City under the name of "William Colgate & Company". In the 1840s, the firm began selling individual cakes of soap in uniform weights. In 1857, William Colgate died and the company was re-organized as "Colgate & Company" under the management of Samuel Colgate, his son. In 1872, Colgate introduced Cashmere Bouquet, a perfumed soap. In 1873, the firm introduced its first toothpaste, an aromatic toothpaste sold in jars. His company sold the first toothpaste in a tube, Colgate Ribbon Dental Cream (invented by the dentist Washington Sheffield), in 1896. In 1896, Colgate hired Martin Ittner and under his direction founded one of the first applied research labs.[3] By 1908 they initiated mass selling of toothpaste in tubes.In Milwaukee, Wisconsin, the B.J. Johnson Company was making a soap entirely of palm oil and olive oil, the formula of which was developed by B.J. Johnson in 1898. The soap was popular enough to rename their company after it - "Palmolive". Around the start of the 20th century Palmolive, which contained both palm and olive oils, was the world's best-selling soap. ). A Missouri-based soap manufacturer known as Peet Brothers merged with Palmolive to become Palmolive-Peet. In 1928, Palmolive-Peet bought the Colgate Company to create the Colgate-Palmolive-Peet Company. In 1953 "Peet" was dropped from the title, leaving only "Colgate-Palmolive Company", the current name.A metal cylinder with a screw top for a 'Colgate' shaving stick. Until the early 20th century, bars or sticks of hard shaving soap were used. Later, tubes containing compounds of oils and soft soap were sold. Newer creams introduced in the 1940s neither produced lather nor required brushes, often referred to as brushless creams.Soaps are used by wetting a shaving brush, which is made out of either boar hair or badger hair, and swirling the brush on the soap, then painting the face with the brush. Brushless creams do not produce a lather, thereby removing its ability to protect the skin against cuts.Cylinder : COLGATE & CO. / SHAVING / STICK / NEW YORK / USA Lid: C&Ccolgate company, colgate-palmolive pty ltd, morabin, bentleigh, cheltenham, razors, cut-throat razors, safety razors, early settlers, soap, shaving cream, toothpaste

Edith (Alice) Watson (1914–2010) studied at the Ballarat Technical Art School, at the School of Mines Ballarat, from 1930 until 1933. Watson was warmly regarded in her home town, Murtoa, easily winning local fundraiser, ‘Most Popular Girl’ in 1936. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths 1972 and 1988. Watson was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio. Alice's comprehensive folio of Ballarat Technical Art School work is held by the University's Geoffrey Blainey Research Centre.A cardboard box containing items used by Alice Watson to produce paintings. The items included are: tubes of oil colour; two paint palettes; paint brushes; imperial measure tape measure; pencils; an erasure; two pencil sharpeners; a roll of brown, gummed tape; small, round container of various pins; a State Savings Bank Victoria ruler; and a collection of scraps of artists paper held together with a metal clip which includes a list of paint colour names and a design tracing of a fuschia. There is a small, plywood, stretching board. alice watson, edith alice watson, ballarat school of mines, artists workbook, ballarat technical art school, paint, oil paint

Artist StatementGeneral ALL BlurbMEDIUM: Oil on kiln dried redgum. DESCRIPTION: Black, blue and white, wood block, no frame. A realistic depiction of an industrial crane against a predominantly cloud covered sky, the crane is set in the lower centre of the canvas, almost becoming secondary to the sky and cloud which dominate the canvas. The sky set in bright and vibrant blues contrast the darkness of the clouds, ominous and heavy in shades of grey and green the colours seem to reflect the relentless clock of industry. A patch of light behind the crane gives the crane a strong focal point. art, de, fcac, all, emma de clario, clario, marios cafe, marios

This Christian Bible by Professor James Moffatt from the United Free Church College in Glasglow Scotland was at a time when translated Christian bibles(Greek to English) were being review as to the accuracy of their translated words. This period was in the early 1900's specifically during and between the two major World Wars of 1914-18 and 1939-45 and also covering the Great Depression(1939). All these periods were ones of death, destruction and "loss of faith". Bibles which provided greater clarity of better times ahead flourished. This book offered its readers hope for the future (in terrible times). The regions that it covered were those who belonged to the Christian Faith. The significance of this bible to the Kiewa Valley is that it provides an insight of those Christians living in a semi remote rural region at the period in Australian history where forces outside of this area were placing hardships which were "foreign" to them, as a family and as a community. The major Christian religions within the Kiewa Valley were either of the Catholic or English Protestant teachings. These groups still remain the dominant ones well into the 2nd Millennium. Spiritual relief to overcome harsh rural setbacks is not just specific to the Australian rural sector but is also global. With the influx of migrant workers from the war torn European nations (after WWII) a broader coverage of Christian and other faiths developed. A "positive" saying, when crops failed and bush fires and river floods sprang up, rallied the faithful "with God's help" This hard covered bible consists of six pages of preamble including title, publishing details, printer and author's preface. The book has 388 pages of black print. Relevant reference lines are notated by numbers on the left side of the page. On the front dust cover is a cream silhouette against a light blue backdrop highlighting a smoking "Aladdin's" Arabic oil lamp on a cenotaph. The hard cover has a embossed emblem of a lantern with a plume of smoke rising from the spout. This is all encapsulated by a circle. The spine also has this emblem. On the dust jacket, front "THE MOFFATT NEW TESTAMENT", and the back cover has blue writing on a cream background. On the spine, at the top "JAMES MOFFATT" below this a white on blue silhouette of "Alalddin's lamp" below this is (in blue letters against a light blue background " THE NEW TESTAMENT A NEW TRANSLATION" On inside cover a signature "Clare Roper". The hard cover has marked in red print "THE NEW TESTAMENT ANEW TRANSLATION MOFFAT" christian bible, prayer, new testament, religion, faith.

Bartram type AK, 5 HP horizontal cylinder water cooled magneto ignition oil Engine mounted on a metal and timber chassis with 4 wheels. It has its own cam driven water pump which pumps cooling water over metal gauze for evaporative cooling. Painted green. It has two flywheels, one at each end of the crankshaft, with a flat belt pulley attached to one flywheel. Cooling tank of galvanised steel with Bartram stencilled on one side. In working order.Cast nameplate on front of crankcase with a Bartram logo cast on also "Bertram / Type / AK"

Painted by Sue JarvisFramed oil painting featuring a Buckland Valley landscape. Titled: "Valley" painted by Sue Jarvis. Brown wood frame. Signed by the artist lower right corner. Painting of a view of a valley with a tree on the left hand lower corner and hills in the distance. Painted predominately in shades of blues and greens. Framed in a gold frame. Note: Item approved for deaccession August 2023. SGSC will now follow deaccession procedures as outlined in the Arts and Civic Memorabilia Collection Policy - https://www.southgippsland.vic.gov.au/downloads/file/2763/arts_and_artefacts_collection_policy_c69. Signed by the artist lower right corner

The photograph shows some of the hundreds of sightseers who visited the site of the wreced Falls of Halladale, watching the fully rigged ship slowly disintegrate over two months or more. The Falls of Halladale was a four-masted sailing ship built in 1886 in Glasgow, Scotland, for the long-distance cargo trade and was mostly used for the Pacific grain trade. The ship was sturdy. It could carry maximum cargo and maintain full sail in heavy gales. It was one of the last of the ‘windjammers’ that sailed the Trade Route, and one of the first vessels to include fore and aft lifting bridges, which kept the crew safe and dry as they moved around the decks in stormy conditions. It was one of several Falls Line ships named after the waterfalls of Glasgow by its owner, Wright, Breakenridge & Co of Glasgow. On 4th August 1908, with new sails, 29 crew, and 2800 tons of cargo, the Falls of Halladale left New York, bound for Melbourne and Sydney via the Cape of Good Hope. The cargo on board was valued at £35,000. It included 56,763 tiles of American slate roofing tiles, 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6,500 gallons of oil, 14,400 gallons of benzene, plumbing iron, 117 cases of crockery and glassware and many other manufactured items. The Falls of Halladale had been at sail for 102 days when, at 3 am on the 14th November 1908, under full sail in calm seas with a six knots breeze behind and misleading fog along the coast, the great vessel rose upon an ocean swell and settled on top of a submerged reef near Peterborough on south-west Victoria’s coast. The ship was jammed on the rocks and began filling with water. The crew launched the two lifeboats and all 29 crew landed safely on the beach over 4 miles away at the Bay of Islands. The postmistress at Peterborough, who kept a watch for vessels in distress, saw the stranding and sent out an alert to the local people. A rescue party went to the aid of the sailors and the Port Campbell rocket crew was dispatched, but the crew had all managed to reach shore safely by the time help arrived. The ship stayed in full sail on the rocky shelf for nearly two months, attracting hundreds of sightseers who watched her slowly disintegrate until the pounding seas and dynamiting by salvagers finally broke her back, and her remains disappeared back into deeper water. The valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. Further salvage operations were made from 1974-1986, during which time 22,000 slate tiles were recovered with the help of 14 oil drums to float them, plus personal artefacts, ship fittings, reams of paper and other items (a list of items held at Flagstaff Hill Maritime Village is included below). The Court of Marine Inquiry in Melbourne ruled that the foundering of the ship was entirely due to Captain David Wood Thomson’s navigational error, not too technical failure of the Clyde-built ship. The shipwreck is a popular site for divers, about 300m off-shore and in 3 – 15m of water. Some of the original cargo can be seen at the site, including pieces of roof slate and coils of barbed wire. ABOUT THE ‘FALLS OF HALLADALE’ (1886 - 1908) Built: in1886 by Russell & Co., Greenock shipyards, River Clyde, Scotland, UK. The company was founded in 1870 (or 1873) as a partnership between Joseph Russell (1834-1917), Anderson Rodger and William Todd Lithgow. During the period 1882-92 Russell & Co., standardised designs, which sped up their building process so much that they were able to build 271 ships over that time. In 1886 they introduced a 3000 ton class of sailing vessel with auxiliary engines and brace halyard winches. In 1890 they broke the world output record. Owner: Falls Line, Wright, Breakenridge & Co, 111 Union Street, Glasgow, Scotland. Configuration: Four-masted sailing ship; iron-hulled barque; iron masts, wire rigging, fore & aft lifting bridges. Size: Length 83.87m x Breadth 12.6m x Depth 7.23m, Gross tonnage 2085 ton Wrecked: the night of 14th November 1908, Curdies Inlet, Peterborough south west Victoria Crew: 29The Falls of Halladale shipwreck is listed on the Victorian Heritage Register (No. S255). It was one of the last ships to sail the Trade Routes. The ship was one of the first vessels to have fore and aft lifting bridges. The wreck is an example of an International Cargo Ship and represents aspects of Victoria’s shipping industry. The wreck is protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act (1976).Photograph, behind glass in a timber frame. Image of a group of people seated on the ground with the stranded barque, the Falls of Halladale, in full sail nearby in the water. The photograph was taken at Peterborough, southwest Victoria, on November 13th 1908. A typed inscription is below the picture.Typed beneath photograph "Falls of Halladale 1886 - 1908"flagstaff hill, maritime museum, maritime village, flagstaff hill maritime museum and village, great ocean road, shipwreck, peterborough, falls of halladale, 1908, barque, scotish, 4-masted, sailing ship, 1886, glasgow, trade, grain trade, cargo, windjammer, fore and aft bridges, falls line, wright, breakenridge & co, american slate, roofing tiles, barbed wire, sewing machines, oil, benzene, port campbell rocket crew, sightseers, salvage, captain david wood thomson, captain thomson, navigational error, clyde-built, russell & co

Manufactured in the 1960s, this mobile emergency telephone exchange was fitted into a caravan. Part of the Shepparton Division State Disaster Plan, the caravan could be towed to areas affected by disasters to enable communications to recommence. The caravan remained in service until approximately 1974.Mobile infrastructure plays an important role in Australian communications, owing to the often remote and hostile environments in which Australians live and work. Exchanges such as this facilitated phone calls in the aftermath of an emergency, particularly for hospitals, police and other emergency services. Today, Mobile Exchange on Wheels (MEOWs), Cell on Wheels (CoW) and Satellite Cell on Wheels (SatCOW) - which provide temporary landline and broadband services, mobile phone coverage and service in areas without communications infrastructure respectively - are a critical part of emergency response procedures for natural disasters such as fire and flood. Though technology has progressed, the need for rapid service in remote areas remains a present concern of the communications service providers in Australia. This mobile service infrastructure is historically significant as an early example of a service which has evolved over decades, yet is still needed today. The exchange, as a representative example of a vehicle which would provide early-response in a disaster, is socially significant as a facilitator of critical communications needs in devastated communities: access to emergency services and contact with family and friends. The exchange itself, intact from its period of use, provides an insight into technology of the 1970s.Mobile emergency exchange housed in a caravan trailer on 2 wheel base, duralin body, steel tow bar, Caravan divided into 3 sections; the exchange room; the relay room and the main frame room. The exchange room contains 3 switchboards, a folding table, cupboards, benches and switch rack (.1). table (.2), steel bar for attaching the table (.3), back boards of switchboards (.4-.6), switches (.7-.16), box of switches (.17). There is a wall phone magneto, 300 type handset on wall and 2 skylights with wire screens. .11? hat pegs and shelf; there are 2 fluorescent tubes for lighting, all in exchange section. The floor is covered with 2 tone grey tiles and there are wire mesh on outside of windows and a geometric curtain inside behind switch rack. There is a flywire screen door as well as exterior door. The relay room has a sectioned door so half can open at a time. Room contains a cupboard with folding bench top beneath a curtained window. The opposite wall has a bank of batteries and transmission condensers; there is a shelf above window, one fluorescent tube and fuse boxes. Tiles on floor also. The main frame room contains many metres of coiled black covered cable, a black covered magneto wall telephone with 300 type handset; grey plastic jumper cords, a rack of termination points and wire with wasp nests attached. There is a small iron step under door, a fluorescent tube on wall and 3 hat hooks. Roll of Paper Handtowels (.18), cord and handle (.19), red exchange cords and plugs (.20-.22), plastic aluminium runners (.23,.24), headset (.25,.26), logbook (.27), battery readings (.28), box containing papers circuit drawings etc (.29-.93), paper lists off wall (.94,.95). Books, record books etc (.96-.103). Manila folder (.104) containing circuit drawings (105-.124). Wooden drawer (.125), metal drawer containing subscribers master cards, record of faults cards, particular switchboards connected, Junction line cards (.126). Box of valves (.127), box of clamps (.128). Box of 2000 type rack fuses, red 1 1/2 AMPS, black 3 AMP, blue 1/2 AMP (.129). Box of sleeves for covering wire joints (.130), plastic beakers (.131,.132), soap (.133), box of white plastic squares (.134), time switch "Venner BF/43 time switch" Made in England (.135), box of bolts, knobs etc (.136), box of switchboard number indicators (.137), fuse (.138), fuse wire (.139), football card (.140). Box of cartridge fuse 6 AMP (.141). Envelope of drawing pins, rubber bands (.142), black plastic, paper tape centres (.143-.152), metal plug (.153), 2 signs "Beware of vehicles" (.154-.155). Paper listing Naringal East automatic conversion (.156). Green Commonwealth of Australia note pad (.157). Wiring plug for tail lights (.158). Black fuse plugs (.159,.160). Box of bolts (.161). 2 sections of blue plastic coated wires (.162,.163). Gloves used for working on batteries (.164-.167). Wasp nests (.168,.169). White fuse (.170). Photographs of van in use (.171,.172)..1 on front: "ANOTHER / MOBILETRAIL / PRODUCT" "MAX SPEED / 25MPH" "TRAILER BRAKES / --- / " On sides: "EMERGENCY TELEPHONE EXCHANGE" "NO 1" "PMG" "TCQ / GROSS 250 / TARE 182 / LOAD 162" "6" "COUNTRY BRANCH / NORTH REGION / [SHEPPARTON DIVISION]" "LAW'S SIGNS" "Telecom Australia" On back: "DANGER / LONG LOAD" "MQA 3787" .133: "FIR OIL" "AUSTRALIA"mobile telephone exchanges, mobile telecommunications trailers, trailers, transport, natural disaster, black saturday, bushfires, floods, emergency communications

Studio portrait of unidentified male, taken circa 1882. From the Partington collection. [Note: In the Hobart Mercury 11 May 1882, page 3… Portraits: Secure the shadow ere the substance pass away. Persons desiring large life-like portraits; taken from life; or copied from any portrait; and finished in oil or water colours; Indian ink; or any other style known in the art; should go to C. W. and Co.; who are the only artist photographers (portrait painters) in Tasmania. The most perfect and highly finished card portraits. Only 7s. 6d. per dozen. Address: C. WHERRETT and CO. Melbourne Portrait Rooms. Elizabeth-street, Hobart.] Sepia studio portrait.In black pen on reverse "Mrs Partington Kindest regards WRC"partington family

Candles were the main source of lighting during the Colonial era. The candles were made at home from tallow, or animal fat, which was readily available and inexpensive. The tallow was soft, often had an unpleasant smell, band burned with a low, quickly fading light. Beeswax candles could be bought ready-made and lasted longer when lit. Bayberry wax could also be made into candles but was the process was labour intensive and time consuming. Spermaceti was from whale oil, a growing industry in the late 1800's, made firmer candles. Around this time wooden candle moulds were invented and uniform size and shape candles could be produced using the spermaceti wax. The candle mould is significant in the evolution of household lighting. It was an asset to the 19th century homemakers, allowing the production of their own candles in a uniform size. Candlelight allowed for the extension of time available for duties.Candle mould of tinplate for one dozen (12) candles. The tubular moulds stand upright, three rows of four, in a fitted tray. Another concave tray fits over the top ends of the moulds and has a hole above each of the candles, which is used for filling the moulds with melted wax. Ends have wire-reinforced edges.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, candle mould, candle making, lighting, candles, tallow, beeswax, bayberry wax, spermaceti was, whale oil, candlelight

The document confirms that the Tender for the supply of gas to the Warrnambool Light, also known as the Lighthouse, by the Warrnambool Gas Works was successful. The Tender was issued by the Engineer in Charge, Ports and Harbours, Melbourne, for a the period ending 30th June 1903, at the offered rate of 10/- (ten shillings) per 100.0 c/f (cubic feet). The Manager of the Warrnambool Gas Works expected to follow this acceptance with a visit to the Collector of Customs to sign the Conditions of Contract and Bond. The light of Warrnambool's Lady Bay Lighthouse was originally powered by oil. Later it was converted to gas, followed by electricity, then solar power, and finally to battery power. The Warrnambool Gas Company operated the gas works from the 1870's to the late 1920's.This document connects Warrnambool's Lady Bay Lighthouse to the Warrnambool Gas Works during the first decade of the 20th century. It documents to process of a Government department requesting Tenders for the supply of goods to operate a service, the the formal documentation required at that time.Pale green rectangular paper with template text printed in black and completed in black ink script. Letterhead of the Department of Ports and Harbours, Melbourne, and addressed to the Gas Works, Warrnambool, dated 24th June 1902, for the supply of gas to the Warrnambool Light until 30th June 1903 at the cost of Ten Shillings per 100 cubic feet."24th [June] 1902" Warrnambool [Light]" "Manager W'bool Gas Wks" "supply of gas to" "1903" "10/- per 100.0 c/f" "Collector of Customs" " The Manager / Gas Works / Warrnambool" [Signature] "for" [Engineer in Charge, Ports and Harbours]flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, department of ports and harbours, ports and harbours, ports and harbours melbourne, warrnambool light, warrnambool lighthouse, warrnambool gas works, w'bool gas works, gas works, gas supply, early 1900s, early 20th century, shillings, cubic feet, collector of customs, customs, warrnambool customs, engineer in charge, lady bay lighthouse, warrnambool gas company

The document confirms that the Tender for the supply of gas to the Warrnambool Light, also known as the Lighthouse, by the Warrnambool Gas Works was successful. The Tender was issued by the Engineer in Charge, Ports and Harbours, Melbourne, for a the period ending 30th June 1905, at the offered rate of 10/- (ten shillings) per 100.0 c/f (cubic feet). The Manager of the Warrnambool Gas Works expected to follow this acceptance with a visit to the Collector of Customs to sign the Conditions of Contract and Bond. The light of Warrnambool's Lady Bay Lighthouse was originally powered by oil. Later it was converted to gas, followed by electricity, then solar power, and finally to battery power. The Warrnambool Gas Company operated the gas works from the 1870's to the late 1920's.This document connects Warrnambool's Lady Bay Lighthouse to the Warrnambool Gas Works during the first decade of the 20th century. It documents to process of a Government department requesting Tenders for the supply of goods to operate a service, the the formal documentation required at that time.Pale cream rectangular paper with template text printed in black and completed in black ink script. Letterhead of the Department of Ports and Harbours, Melbourne, and addressed to the Gas Works, Warrnambool, dated 24th June 1904, for the supply of gas to the Warrnambool Light until 30th June 1905 at the cost of Ten Shillings per 100 cubic feet."24th [June] 1904" Warrnambool [Light]" "Manager W'bool Gas Wks" "supply of gas to" "1905" "10/- per 100.0 c/f" "Collector of Customs" " The Manager / Gas Works / Warrnambool" [Signature] "for" [Engineer in Charge, Ports and Harbours]flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, department of ports and harbours, ports and harbours, ports and harbours melbourne, warrnambool light, warrnambool lighthouse, warrnambool gas works, w'bool gas works, gas works, gas supply, early 1900s, early 20th century, shillings, cubic feet, collector of customs, customs, warrnambool customs, engineer in charge, lady bay lighthouse, warrnambool gas company

The document confirms that the Tender for the supply of maintenance to the Warrnambool Light, also known as the Lighthouse, by the Warrnambool Gasworks was successful. The Tender was issued by the Engineer in Charge, C. Maclean, Ports and Harbours, Melbourne, for a the period ending 30th June 1908, at the offered rate of 10/- (ten shillings) per 100.0 c/f (cubic feet). The Manager of the Warrnambool Gasworks expected to follow this acceptance with a visit to the Collector of Customs to sign the Conditions of Contract and Bond. The light of Warrnambool's Lady Bay Lighthouse was originally powered by oil. Later it was converted to gas, followed by electricity, then solar power, and finally to battery power. The Warrnambool Gas Company operated the gas works from the 1870's to the late 1920's.This document connects Warrnambool's Lady Bay Lighthouse to the Warrnambool Gas Works during the first decade of the 20th century. It documents to process of a Government department requesting Tenders for the supply of goods to operate a service, the the formal documentation required at that time.Pale cream rectangular paper with template text printed in black and completed in black ink script. Letterhead of the Department of Ports and Harbours, Melbourne, and addressed to the Gas Works, Warrnambool, dated 25th June 1907, for the supply of maintenance to the Warrnambool Light until 30th June 1908 at the cost of Ten Shillings per 100 cubic feet. A purple stamped signature is also added and initialled in red pen."25th [June] 1907" Warrnambool [Light]" "Manager W'bool Gasworks" "supply of gas to" "1908" "10/- per 100.0 c/f" "Collector of Customs" " The Manager / Warrnambool Gasworks" [Signature] "for" [Engineer in Charge, Ports and Harbours] Stamped " C. -. Maclean"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, department of ports and harbours, ports and harbours, ports and harbours melbourne, warrnambool light, warrnambool lighthouse, warrnambool gas works, w'bool gas works, gas works, gas supply, early 1900s, early 20th century, shillings, cubic feet, collector of customs, customs, warrnambool customs, engineer in charge, lady bay lighthouse, warrnambool gas company, gasworks, warrnambool gasworks, maintenance, c. - maclean

Donation includes a letter, dated 12 June 1983 from June Uhl to Mrs [Thea] Sartori referring to research about John Hodgson and the naming of Studley Park.Photographic negative of a lithograph of the Melbourne and Studley Park pioneer John Hodgson, accompanied by a letter from the donor, Jean Uhl.Envelope: "John Hodgson painted* by Ludwig Becker 1855. Photographed by State Library of Victoria from original held by Royal Historical Society of Victoria. Kew Historical Society from Jean Uhl." Editor note: Incorrect attribution. The Becker oil painting is held in the City Collection, City of Melbourne. This negative is of a lithograph based on a drawing of Hodgson, made by L. Becker circa 1855.john hodgson, studley park, stoodley pike - scotland, rev alex davies, jean uhl, ludwig becker

Pearlite Phenyle was manufactured by Renown Pearlite Company Pty Ltd, which was formerly known as Pearlite Manufacturing Company. The factory was in 171-177 Stawell Street, Richmond and they manufactured kitchen products essence, Sunflakes - breakfast cereal.4 sided, diamond-shaped amber glass Phenyle bottle with cork stopper and paper label printed in blue, red, and yellow.Disinfectant – Poison – Pearlite Phenyle Poisonous not to be taken Contents 20 Fluid ozs Renown & Pearlite Pty Ltd DIRECTIONS FOR USE 2 teaspoonfuls to 1 pint of water 1 pint to 6 Gallons of water Does not contain more than 3 per cent or less than 2 pre cent or Carbolic or its homologue. Guaranteed to destroy Typhoid Fever Bacillus, 1 part fluid 30 parts water, in 10 minutes. NOTE – Placing the disinfectant in copper vessels or in contact with Alkaline Substances renders it imperative. ANTIDOTE: Epsom or Glauber salts in water. Lime water and olive oil or castor oil (Perlite for Preference) EMBOSED ON BOTTLE: Phenyle with XX’s – poisonous – this bottle is the property of – 2140 STICKER: Sold by Crofts Stores Pty Ltd Branch Store: Hawthorn Road Caulfield. phenyle, bottle, cleaning, disenfectant

This cigarette case was made from the plexiglass windscreen of a Japanese Mitsubishi Zero aircraft. Whilst its maker is unknown, its inscription, “Tarakan May 1st 1945” suggests that it was created during the Battle of Tarakan. Tarakan was a small, oil-rich island off the coast of Borneo which in 1945 was held by the Japanese. The battle, code named Operation Oboe One, began when Australian forces landed on May 1st 1945, and continued until June 21st. 240 Australians died during the conflict. The term ‘Trench art’ describes objects made from the debris and by-products of warfare. Reasons for making trench art varied, from creating mementos of battles to passing time or mitigating the effects of warfare. This object has historic significance at a national level due to its association with World War Two. As an example of trench art, it makes an important contribution to our understanding of Australian soldiers’ experience of the war. This object is an example of skilled craftsmanship and has artistic and aesthetic significance due to its detailed engraving of a beach scene. Unlike the majority of trench art, which was made from used ordnance, it is made from the windscreen of a Mitsubishi Zero aircraft and therefore is comparatively rare.Cigarette Case made from the windscreen of a Japanese Zero aircraft"Tarakan May 1st 1945" "A-F-B" Engraved beachcigarette, tarakan, windscreen, japan, australia, united states, netherlands, beach

"Charles E. Turner was an artist who exhibited at the Royal Academy in London, and specialised in landscape and marine views. Having served in the Royal Air Force in the First World War, reaching the rank of Captain, Turner worked as a war artist during 1939-45. Turner painted pictures of the Queen Mary and Queen Elizabeth for Cunard, which were made into a series of popular postcards. He also designed for Churchill Cigar Boxes, and, alongside paintings demonstrating his first-hand experience of combat, produced illustrations for Illustrated London News and Sphere magazines. Many of his oil and watercolour paintings of the two World Wars are preserved in the collection of the National Maritime Museum, London, and at the Imperial War Museum, London." (The National Archives UK)Representative and promotional example of service by MTS to the variety of ships visiting ports in the first half of the 20th C. Cardboard frontispiece of a calendar published by the Missions to Seamen. A colour painting titled "Mission Boat on her Rounds" by artist Charles E. Turner, represents an imaginary image of the mission boat with the Flying Angel flag sailing towards several ships.Written in pencil at the back: "With best wishes from the Chaplain and the LHL Guild"calendar, frontispiece, charles e. turner (1883-1965), hlg, harbour lights guild

Kempthorne Lighting Pty. was established as Coffey Lanterns in East Malvern, Melbourne Victoria in 1931 by brothers Selwyn and Owen Coffey. They manufactured lighting fixtures and fittings including oil lamps for marine use as well as for the domestic market. In early 1936 two other brothers, Erle and Terence had joined the company which was renamed Kempthorne Lantern Works Pty., Ltd. In 1946 Kempthorne joined with a small design team who had developed a domestic fan to form the subsidiary, Mistral fans. The company previously known as Kempthorne Holding Ltd was listed on the stock exchange in 1968. In 1977-1979 Kempthorne Mistral Ltd. Was a holding company comprising of Kempthorne Lighting Pty., Ltd. & Mistral Fans Pty., Ltd. An early Australian made marine lamp by a significant manufacturer that is still in business today making electrical equipment. The item is an important artefact that was made by an early Australian business that started in the 1930s. Over the years this company has demonstrated many innovations to the manufacturer of electrical items. Marine copper Lamp, round with brass makers lozenge and rounded hollow lugs set on either side of the lamp. Heavy metal handle with brass locking pin. Lid with catch on top. Made by Kempthorne Pty Ltd Melb. 1941flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lamp, copper ship lamp, ship lamp, kempthorne pty ltd

1 - employee with a uniform cap - could be a shunter - lifting the cable into the adjacent grip car. Marked on rear as "Lonsdale St" .2 - worker in a cable pulley maintenance pit oiling the mechanism - note the other pits. Has put a "Danger" sing out on the roadway. Marked on rear "Bourke and Spring St 1938" Two copies held and one digital image from a scene shot. .3 - a worker watching the cable entering a winding house looking for damage - what a boring job! Marked on rear as "Checking cables 1938" .4 - communications pillar - or box - to communicate with the winding house .5 - photos shows the grip in the roadway Images have been reproduced from a movie - Commuting by Cable?Yields information of the cable tram operations c1938.Series of five Black & White Photographs by the TMSV Sales and one digital image from Commuting by Cable. Has the TMSV Sales stamp on rear with some notes in pencil on the rear as shown above.trams, tramways, cable trams, grip tram, cables, winding house

"EMPIRES OF THE DEAD" - HOW ONE MAN'S/ VISION LED TO THE/ CREATION OF WW1'S/ WAR GRAVES"Hard cover book with Dust Cover. Hardcover - cardboard, black colour buckram, gold print on spine. Dustcover - Paper, white, red and black print on front, spine, back and front and back flaps. Illustrated front, black and white photographs (top) soldiers from the rear, (bottom) war graves. Back cover - colour copy of oil painting "The Cemetery, Etaples" 1919 by Sir John Lavery. 289 pages, paper, cut, plain, off white. Illustrated black and white and colour photographs. End papers - red.ww1, books, war graves

Black and white Photograph Mundy Street, Bendigo, 1860s Building signs include .Professor LEWIS'S Haircutting and Shampooing Saloon, Lewis's shaving .Three Barber's poles outside the weatherboard shop. Clothes Cleaning & Renovating, Cahill and Associates- Obstetrician, Empire Restaurant, Dining Rooms & Boarding House, J.Lindop's Family Hotel, Allen Reeve glass, paperhanging, oil & color warehouse, John D.Bywater-Hay & Corn Dealer, Fletchers on the corner, Fosdyke Drapers.Reverse has a rubber stamp - Kilmore Historical Society .The street is unmade and no people appear to be in view -Batchelderphotograph, streetscape, bendigo

This work is a serigraph (screenprint) on cartridge paper using blue oil based inks of the 'Brolga' (Australian Crane); a common, gregarious wetland bird species of tropical and south-eastern Australia and New Guinea / It is a tall, upright bird with a small head, long beak, slender neck and long legs / The pose of the bird represents their stance when calling out to their mate, which sounds like a loud trumpet / The decorative markings on the bird's plumage is from the traditional carved/etched Gunnai shields from Gippsland Eastern Victoria, which is where Thomas' people are from. Underneath 'Brolga', on slant, lower right in greylead pencil (?) handwritten artist signature and language group "Ray Thomas - GUNNAI"

This linoleum is in-situ in one of the rooms of the house at Days Mill. Newspaper laid underneath indicates the linoleum was laid after September 1910.PATTERNED LINOLEUM : A floor covering made from materials such as solidified linseed oil (linoxyn), pine rosin, ground cork dust, wood flour, and mineral fillers such as calcium carbonate, most commonly on a burlap or canvas backing. This piece has a cream & light grey mosaic type background with circular brown leaf repeating patterns interlaced into four square blue shapes. Central star pattern within circular leaf pattern in light & dark blues & browns. Stylised floral motif in between each circular & square shaped pattern repeats.

Number 443/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 204/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 442/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 244/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 245/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis

Number 444/500 of a limited edition print series, of an original oil painting entitled 'Tennis in the Park', by Raymond Sipos, in 1976. The artwork features a number of male and female spectators, in 19th century dress, watching a game of mixed doubles being played on a grass court, in an open park. The print has been personally numbered and signed by the artist, along the lower border. The print is mounted onto black paper, backed by corrugated cardboard, and air-tight sealed with clear plastic film. Materials: Paper, Ink, Graphite, Paper, Cardboard, Plastictennis