Although Lee DeForest invented the triode vacuum  in 1906, it was not employed in hearing aids until 1921. The first hearing aid using a vacuum tube was purported to have been made by Earl C. Hanson. He called his hearing aid the Vactuphone. It used one small peanut tube (below right) to amplify the output of a carbon hearing aid. The Globe Hearing Aid Company and Western Electric collaborated to manufacture the Vactuphone. By the early 1940s, Raytheon had developed miniature vacuum tubes. It was these miniature vacuum tubes that made body-worn hearing aids a reality. Unfortunately, the power requirements of these aids made it necessary to use two relatively large batteries—an "A" battery to power the filaments of the vacuum tubes and a "B" battery to supply the high-voltage for the plate current. The batteries were worn external to the hearing aid itself and the name "Two-piece" hearing aid was used to describe them. Until about 1945 "Two-piece" hearing aids were the norm. However, improved vacuum tube design reduced current requirements. As a result, battery manufacturers were able to reduce the size of the batteries used in hearing aids. At the same time, electronic components were also being miniaturized. This allowed the hearing aid manufacturers to design hearing aids with internal batteries. After 1945, these "One-piece" hearing aids quickly replaced the more cumbersome "Two-piece" hearing aids. With continuing improvements in both batteries and components, hearing aids continued to reduce in size until 1953 when the vacuum tube was suddenly supplanted by the transistor.Fawn plastic hearing aid with metal clip on back and wires leading from the bottom. Made in the USA, sold by Angus & Coote as the Sole Australian Agents. The Model is the Sonotone 700. Two dials one on each of the top corners."ANGUS & COOTE/Sole Australian/Agents/C D C" Printed in black on the back, top left hand corner. "SONOTONE/700/SERIAL NO/843218/MAD IN U.S.A./SEE PATENT NOTICE/IN INSTRUCTION BOOK" imprinted on back, centre middle.deaf children australia, hearing aid, sonotone hearing aid, sonotone 700, angus & coote

The Lake Condah Mission site includes bluestone ruins and a reconstructed timber building, as well as the cemetery which were part of the original settlement. With European settlement in the 1830s came conflict. Gunditjmara people fought for their land during the Eumerella wars, which lasted more than 20 years. As this conflict drew to an end in the 1860s, many Aboriginal people were displaced and the Victorian government began to develop reserves to house them. Many Aboriginal people refused to move from their ancestral land and eventually the government agreed to build a mission at Lake Condah, close to some of the eel traps and within sight of Budj Bim (Mt Eccles). The mission opened in 1867. The Mission was formally closed in 1918, and Aboriginal people were forced off the Mission, some moving to Lake Tyers. The Gunditjmara protested against the Mission’s closure and many continued to reside in the buildings until the majority of the reserve land was handed over to the Soldier Settlement Scheme in the 1940s. The mission was destroyed by the government in the 1950s in an effort to force the integration of Gunditjmara people with the general community but the Gunditjmara people continued to live in the area and protect their heritage. The mission lands were returned to the Gunditjmara in 1987. Lake Condah Mission is a place with special meaning to the Gunditjmara community - as a community meeting place, an administrative centre, a symbol of political struggle and a link to family histories. As a result the Gunditjmara community do not want open public access to this site. Key Features of Interest Ruins of stone cottages and plot remains of buildings such as the church Reconstructed dormitory building (https://www.budjbim.com.au/visit/cultural-sites/lake-condah-mission/?gclid=EAIaIQobChMIz6j36ZvF-QIV8ZhmAh2tmA3qEAAYASAAEgLxrvD_BwE, accessed 2022)Colour photographs of the former Lake Condah Aboriginal Missionlake condah, lake condah aboriginal mission, aborigines, aboriginal, gunditjmara, eumerella wars

Set of tickets - 1940s All numbers in black 1 - 1d - pale green - 003159- Stamina trousers advert on rear. 2 - 2d - pale green part faded - 625747 - with Ball & Welch advert on rear 3 - 2d City Section - 076958 - with City Section in red, and a Bushell's Coffee advert on rear 4 - 2d City Section - green, 444876 - with City Section in red & Stamina trousers advert on rear. 5 - 3d - orange - 604982 with a Bushell's Tea advert on rear 6 - 4d - fawn - 149010 & 717508 - one with a Roger David Advert and NSW Mont de Piete - deposit and investment co. 7 - 4d - fawn City Section - 338554 and 790608 - with City Section in red & Stamina trousers advert on rear. 8 - 5d - red & purple - 560387 & 967660 - Stamina trousers advert on rear. 9 - 5d - City Section - red with red print 089663 - Stamina trousers advert on rear. 10 - 6d - set of 3 - different size number and different size paper - 518108, 538561 and 0088467. All off white paper with oranage print - two with Stamina adverts and the 3rd with a Royal Victoroa Institute for the blind. 11 - 7d - green print on off-white paper - 802374 - Stamina trousers advert on rear. 12 - 7d - orange 811920 - Stamina trousers advert on rear. 13 - 8d - purple on off white paper 410187, with Bushells coffee advert 14 - 9d - off white paper - 391972 - no advert on rear. 15 - 1/- brown 036485 - small size, not advert on rear.Demonstrates tickets used by the MMTB Set of 19 + 1 tram/bus tickets - paper flimsy - various colours and denominations, with advertising on the rear.tramways, tickets, mmtb, bushells, stamina trousers, roger david, ball & welch

The property is a classic example of what made Eltham famous from the late 1940s to the 1960s. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p149 The first view of the large double-storey house at Yarra Braes Road, Eltham South, is of a jutting roofline over a balcony, reminiscent of a large sailing vessel or galleon – very appropriate, considering the name of one of the first owners, Le Gallienne. The Downing-Le Gallienne property is a classic example of what made Eltham famous from the late 1940s to the 1960s and attracted so many artists and intellectuals to the area. Set in a largely indigenous bush-style garden, the mud-brick and timber house was built by Alistair Knox. It was built for economist Richard Downing, to become a founder of the welfare state in Australia and Chairman of the Australian Broadcasting Commission, and musician and composer Dorian Le Gallienne. Le Gallienne was a pioneering composer of modern music in Victoria before 1945, whose works included the Symphony in E.1 He wrote several pieces of film music for Eltham Films, including The Prize, working with its writer and artistic director Tim Burstall. Le Gallienne was also a music critic for The Argus and later for The Age. In 1967 the music critic Roger Covell argued that Le Gallienne’s Symphony, was ‘still the most accomplished and purposive . . . written by an Australian’.2 According to Alan Marshall the main inspiration behind the building that evolved from 1948 to 1964 was Le Gallienne. ‘He was able to see value in the simplest things and many who worked there had their eyes opened for the first time to the Eltham environment, to the bush and the trees and the fauna which lived there.’3 The garden included no formality, no lawns, nor exotic plants. ‘Natural informal growth came right up to their doors and so did the indigenous birdlife.’4 This informal style – consisting of mass and void – was to be developed and popularised by landscaper Gordon Ford from the 1950s. The large mud-brick and timber house, which was built in four stages and has three separate but linked sections, began as a small weekend retreat for the couple. In 1948, Downing and Le Gallienne (Dick and Dor to their friends), asked Knox to build the 36 x18 foot (11mx5.4m) building with a pitched slate roof. It was built on a concrete slab and included a fireplace, which is still in use. The second wing was built in 1954 after Downing had returned from working at the International Labour Office and the couple decided to live there full-time. The third section was built after the death of Le Gallienne in 1963, aged 48. He is buried in the Eltham Cemetery. When Downing married widow, Jean Norman (nee McGregor) and had to accommodate a large family, including her six children and one of their own, the last stage was built by 1964. At that time the house was considered one of the largest mud-brick houses in Victoria. It consists of five living areas, including a small ballroom. Several artists helped Knox build the Downing-Le Gallienne house, which was one of his first of mud-brick. They included painter Clifton Pugh, artist John Howley and actor Wynn Roberts. Ellis Stones had landscaped the first wing and Gordon Ford set the boulder steps and made a pool as part of the landscaping he completed. Inside, the mud-bricks are largely whitewashed with pine-lined ceilings and Oregon beams. A winding timber staircase in the front extends behind a glass window from the ground floor to the top. The property, of a little more than 0.5 ha, is bordered by Parks Victoria land, which extends to the Yarra River.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, dorian le gallienne, downing-le gallienne house, eltham, mudbrick construction, mudbrick houses, richard downing, yarra braes road

The photograph depicts a view across the water at Lake Sambell. The image dates from approximately 1960. The present day park and reserve occupies the site of the former Rocky Mountain Mining Company, an open-cut sluice mine that began operations in the mid-Nineteenth Century and operated until the early 1900s, through the peak of Victoria’s Gold Rush. It was converted into a park and leisure area in the 1920s. Lake Sambell was formally opened to the public on Friday 5th October 1928 and was opened by the Victorian Government’s Minister of Lands, Mr Bailey, as part of initiatives to boost the economies and development of country towns. The lake was named after Mr L.H. Sambell, a shire engineer and secretary of the Forward Beechworth Committee who was involved in promoting the transformation of the mining site and promoting plantation forestry and tourism as alternative industries. £300 to begin the process was provided by Mr J. McConvill, a former resident of Beechworth, who is remembered in a street name adjacent to the lake. Residents of Beechworth have worked to raise funds to improve the Lake Sambell reserve several times, such as efforts in the 1930s and 1940s to raise the banks several feet to deepen the water for swimming purposes. Fundraising campaigns include the ‘Ugly Man’ competition conducted on behalf of the Wallace Park-Lake Sambell Development Scheme. The latter competition was run by the Fire Brigade Bend’s team as part of a larger competition called the ‘Mile of Pennies’; it was won by Mr Len Knight of Beechworth’s Commercial Hotel. The ‘Mile of Pennies’ was conducted at a Carnival held on New Year’s Eve, 1947. It was proposed by the Beechworth and District Progress Association. As well as improving swimming facilities, funds were raised to install a caravan park facility near the lake. Funds were also donated by commercial entities, such as £250 received from Zwar Bros. Pty Ltd. The photograph is significant as it shows the level of development of Beechworth in the early to mid-Twentieth Century. Sepia rectangular photograph printed on matte photographic paperObverse: nil. Reverse: 3470 / Velox (paper mark)beechworth, beechworth lake, lake sambell, lake, beechworth and district progress association, forward beechworth committee, ugly man, mile of pennies, wallace park lake sambell development scheme, wallace park-lake sambell development scheme, zwar bros, zwar, l.h. sambell, j. mcconvill, minister of lands, commercial hotel, len knight, rocky mountain mining company, rocky mountain mining co, gold rush, redevelopment, transformation, community fundraising

The photographs in this set depict views across the water at Lake Sambell. The images date from approximately 1960. The present day park and reserve occupies the site of the former Rocky Mountain Mining Company, an open-cut sluice mine that began operations in the mid-19th Century and operated until the early 1900s, through the peak of Victoria’s Gold Rush. It was converted into a park and leisure area in the 1920s. Lake Sambell was formally opened to the public on Friday 5th October 1928 and was opened by the Victorian Government’s Minister of Lands, Mr Bailey, as part of initiatives to boost the economies and development of country towns. The lake was named after Mr L.H. Sambell, a shire engineer and secretary of the Forward Beechworth Committee who was involved in promoting the transformation of the mining site and promoting plantation forestry and tourism as alternative industries. £300 to begin the process was provided by Mr J. McConvill, a former resident of Beechworth, who is remembered in a street name adjacent to the lake. Residents of Beechworth have worked to raise funds to improve the Lake Sambell reserve several times, such as efforts in the 1930s and 1940s to raise the banks several feet to deepen the water for swimming purposes. Fundraising campaigns include the ‘Ugly Man’ competition conducted on behalf of the Wallace Park-Lake Sambell Development Scheme. The latter competition was run by the Fire Brigade Bend’s team as part of a larger competition called the ‘Mile of Pennies’; it was won by Mr Len Knight of Beechworth’s Commercial Hotel. The ‘Mile of Pennies’ was conducted at a Carnival held on New Year’s Eve, 1947. It was proposed by the Beechworth and District Progress Association. As well as improving swimming facilities, funds were raised to install a caravan park facility near the lake. Funds were also donated by commercial entities, such as £250 received from Zwar Bros. Pty Ltd.The photographs are significant as they show the level of development in Beechworth in the middle of the Twentieth Century. Four sepia and black and white rectangular photographs printed on matte photographic paper. 3469.1: Obverse: nil Reverse: 3469-1 3469.2: Obverse: nil Reverse: 3469-2 3469.3: Obverse: nil Reverse: 3469-3 3469.4: Obverse: nil Reverse: 3469-4beechworth, beechworth lake, lake sambell, lake, beechworth and district progress association, forward beechworth committee, ugly man, mile of pennies, wallace park lake sambell development scheme, wallace park-lake sambell development scheme, zwar bros, zwar, l.h. sambell, j. mcconvill, minister of lands, commercial hotel, len knight, rocky mountain mining company, rocky mountain mining co, gold rush, redevelopment, transformation, community fundraising

The Eltham Hotel was opened in 1854 situated on the south east corner of Main Road (Maria Street) and Pitt Street. Post card dated Eltham 2.1.1908 sent to Mr C. Watson "Malvale" Mardan Inscribed "Wishing you a Brigt and Happy New Year from Florrie" Most likley sent by Florence May Shillinglaw to sister Carrie Watson and new brother-in-law Christopher Watson - The Watsons married in 1907 View looking south on Main Road towards Pitt Street and Watson's Eltham Hotel on left. At this time, the hotel was run by Christopher Watson Jnr. Carrie Shillinglaw had recently married his son, Christopher. Ultimately the hotel would pass to his youngest son, Herbert James (Jim) Watson who demolished the original building in 1925 and erected a new modern building on the same site that remains in present time though modified several times over the years. See also EDHS_00133 POSTCARD 1905-1940s Like the carte-de-visite, postcards enjoyed a collecting craze by large numbers of people, and were often kept in albums through which the interested visitor could browse. Postcards were posted or exchanged in huge numbers. Postal authorities in Australia only allowed the private printing of postcards from 1898. At this time the back of the card was reserved for the address and postage stamp, and the front was used for the message and a picture. In 1902 British authorities allowed a "divided back", so that the left side could be used for the message, the right side for the address and stamp, and the whole of the front was devoted to the picture. France followed suit in 1904, Germany and Australia in 1905, and the United States in 1907. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, postcard, eltham hotel, florence may bunker (nee shillinglaw) (1886-1969), main road, pitt street, caroline (carrie) watson (nee shillinglaw 1876-1956), christopher watson, 1908

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s. Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Stoneware circular container with wide opening, brown top and off white base glazed finish Marked "1" on brown glazed rimflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, container, stoneware container, kitchen storage, kitchen ware

The disc-shaped design of these 1LB and 2 LB metal weights enables them to be stacked one on top of the other. The weights are used with a balance scale to accurately weigh the mass of items such as grain, sugar, meat or potatoes. They could have been used in retail or wholesale businesses like a general store or a grain merchant’s premises. The user would place either one or both of these weights on one side of a balance scale. Goods would then be placed onto the other side of the scale until the beam between both sides of the scale was level, showing that the weight of the goods was as heavy as the weight or weights on the other side. These two weights are marked in Imperial units. An Imperial Standard 1LB is equal to 453.592grams. The British Weights and Measures Act of 1824 defined official standards for weights and measurements. This ensured that uniform measurements would be used for trade throughout the Empire. Towns and districts would have an official set of Imperial Standard Weights and Measures. Inspectors periodically used this official set to check the accuracy of traders’ own weights and measures. There would be penalties such as fines or imprisonment for people who broke these laws. The State of Victoria had its own Weight and Measures Act in 1862 and a decade later the inspectors in local councils used their local set of weights and measures to test the local businesses measuring equipment. In the nineteenth century the Victorian Customs Department carried out this role but this was handed over to the Melbourne Observatory at the beginning of the twentieth century. The Measures Branch then followed on with this task from the 1940s until 1995. Australia began converting to the metric system in the 1960s, beginning with its money. The conversion from imperial to metric units of measurement in Australia took place from 1970 and was completed in 1988 when metric units became the only legal unit of measurement. Imperial Standard weights; set of two disc-shaped weights designed to stack one upon the other. Inscriptions are marked in relief. "IMPERIAL STANDARD 1LB" [weight 1], "IMPERIAL STANDARD 2LB" [weight 2]warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, shipwrecked-artefact, wieght, weights and measures, imperial standard weight

The disc-shaped design of this 2 LB metal weight enables it to be stacked on top of another similarly shaped weight. The weight is used with a balance scale to accurately weigh the mass of items such as grain, sugar, meat or potatoes. It could have been used in retail or wholesale businesses like a general store or a grain merchant’s premises. The user would place the weight on one side of a balance scale. Goods would then be placed onto the other side of the scale until the beam between both sides of the scale was level, showing that the weight of the goods was as heavy as the weight on the other side. This weight is marked in Imperial units. An Imperial Standard 1LB, or one pound, is equal to 453.592grams. The British Weights and Measures Act of 1824 defined official standards for weights and measurements. This ensured that uniform measurements would be used for trade throughout the Empire. Towns and districts would have an official set of Imperial Standard Weights and Measures. Inspectors periodically used this official set to check the accuracy of traders’ own weights and measures. There would be penalties such as fines or imprisonment for people who broke these laws. The State of Victoria had its own Weight and Measures Act in 1862 and a decade later the inspectors in local councils used their local set of weights and measures to test the local businesses measuring equipment. In the nineteenth century the Victorian Customs Department carried out this role but this was handed over to the Melbourne Observatory at the beginning of the twentieth century. The Measures Branch then followed on with this task from the 1940s until 1995. Australia began converting to the metric system in the 1960s, beginning with its money. The conversion from imperial to metric units of measurement in Australia took place from 1970 and was completed in 1988 when metric units became the only legal unit of measurement.Weight; 2 lbs. Metal disc designed for stacking. Inscription marked in relief. Imperial Standard weight, 2 pounds weight."IMPERIAL STANDARD", "2lbs"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, standard measure, imperial standard, weight, 2lb weight, imperial standard weight

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s.Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Brown salt glaze stoneware bottle None (possibly made by Royal Doulton UK)flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, bottle, stoneware bottle, storage, kitchen ware, salt glazed, stoneware, shipwreck coast

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s.Item's significance and origin of manufacture is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past. Stoneware jug badly cracked and repaired with handle and short neckNoneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, stoneware jug, earthenware jug, kitchen storage

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthenwares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s. Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Brown Stoneware jug with short neckThe number "1" under neck flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, stoneware jug, salt glaze

Stoneware is a rather broad term for pottery or other ceramics that is fired at a relatively high temperature.  A modern technical definition is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay. Whether vitrified or not, it is non-porous, it may or may not be glazed. Historically, across the world, it has been developed after earthenware and before porcelain and has often been used for high-quality as well as utilitarian wares. As a rough guide, modern earthen wares are normally fired in a kiln at temperatures in the range of about 1,000°C (1,830 °F) to 1,200 °C (2,190 °F); stoneware's at between about 1,100 °C (2,010 °F) to 1,300 °C (2,370 °F); and porcelains at between about 1,200 °C (2,190 °F) to 1,400 °C (2,550 °F). Historically, reaching high temperatures was a long-lasting challenge, and temperatures somewhat below these were used for a long time. Earthenware can be fired effectively as low as 600°C, achievable in primitive pit firing, but 800 °C was more typical. Stoneware also needs certain types of clays, more specific than those able to make earthenware, but can be made from a much wider range than porcelain. A domestic item used to store food products as glazing makes the container non-porous, often used for pickling. Or larger containers for kitchen flour. Items age is difficult to determine given the same techniques for making stoneware are in use today. Stoneware containers were made by many potteries in Australia and England. They were in common domestic use before plastics were invented around 1940 to store goods so this subject item is probably from around 1900 to the 1940s. Item's significance is difficult to determine given it is not associated with a place, person, historic event, or manufacturer. Its significance lies with its use as a domestic object giving today a view into our social past.Stoneware circular container with wide opening, brown top and off white base. Handholds moulded on each side glazed finish, cracks in base.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, container, stoneware container, kitchen storage, kitchen ware

The St. Moritz Ice Rink was a popular ice skating rink on The Esplanade, St. Kilda, Victoria. It operated between 1939–1981. As one of only two ice rinks in Melbourne in the 1940s and 1950s, it played a central role to the sport of ice hockey in Australia. Closed in 1982, it soon suffered a major fire and was then demolished, an event later seen as a major blow to the heritage of St Kilda. It was first built as the Wattle Path Palais de Danse in 1922, a very large dance hall, designed by architects Beaver & Purnell, The Wattle Path was the venue for the first all-Australian dance championship, and featured some of the best dance bands of Australia, as well as from America. Popular throughout the 1920s, it suffered due to the Great Depression, and closed in the early 1930s. From 1933-1936 the building became a film studio, Efftee Studios, for Frank W. Thring. In 1938, businessman Henry Hans "Harry" Kleiner announced that the Wattle Path would become an ice rink. He was sole proprietor until 1953, when he sold the business to J. Gordon and T. Molony, both champion skaters. Trade declined during the 1970s. The building was sold in 1980 to developers Hudson Conway and trucking magnate Lindsay Fox and was closed in early 1982. It was nominated to the Historic Buildings Preservation Council, but a majority of City of St Kilda councillors voted to oppose this action and uphold a demolition permit already issued. The building infamously suffered a fire later that year, leaving only the facades, which were demolished soon after. The site remained vacant until about 1991, when a mid-price hotel called the St Moritz was constructed. By 1993 it was simply called the Novotel St Kilda. The hotel closed in 2019 and was replaced by an apartment complex.black and white photographSt Moritz, St Kilda. Ice Skating. Caf�st moritz, st kilda, the esplanade, ice skating

14A Built in 1914 and painted Canadian red & dark brown, this locomotive was issued to the Colac to Crowes line and saw service on all four lines, but mostly on the Colac to Crowes line. It was withdrawn from service in 1962 at Colac and sent to Newport Workshops for storage where it remained, except for a brief time at Bendigo North Work-shops in 1963. After overhaul, it was brought to Belgrave in 1965 where it has seen almost continuous service since. In 1978, it became the first of the preserved NA’s to trial a historic colour scheme for which the Canadian red & dark brown was chosen, but ended up mistakenly being painted a “London Tan” & dark brown. In 1996 it received a more correct Canadian red livery. This “temporary” trial livery has now given way to 14A’s designated livery of all-over black. Its physical configuration will match the late 1940s era with the extended bunker, guard irons, etc. Loco: 14A In service Thursday, 25th June 1914 Withdrawn April 1962 Livery Canadian red & dark brown Owner Puffing Billy Gauge 762mm / 2' 6" Status Preserved - Operational - Converted to running on Light Oil in 2018 Service History: Jun 1914 - Colac - initial allocation of a new locomotive Jun 1914 - May 1921 Colac Aug 1921 - UFTG. Sep 1921 - Feb 1923 Moe May 1923 - Apr 1927 Colac Jul 1927 - Apr 1929 UFTG. Apr 1929 - May 1932 Other May 1932 - Nov 1934 Moe Dec 1934 - Jan 1940 Wangaratta Jun 1940 - Workshops Oct 1940 - Mar 1947 Colac May 1948 - Nov 1960 Colac - Stored Apr 1962 - Jul 1962 Workshops - Stored Dec 1965 - Belgrave - In active service at Puffing Billy Railway Belgrave Victorian Railways - Narrow Gauge NA class steam locomotive number 14A Dates that 14A worked on the Gembrook Line Aug-1921 to Sep-1921 Jul-1927 to Apr-1929 Dec-1965 - Returned to service Oct-1977 - Transferred to ETRB ownership Steam Locomotive with wrought iron frame with cast iron cylinders - Converted to running on Light Oil in 201814Apuffing billy, 14a, victorian railways, narrow gauge, steam locomotive

Mr Eric Sumsion was the gardening curator for Wodonga Shire in 1956. He had previously operated a bootmaker’s shop in High Street, Wodonga for many years. Eric saw the potential of the area in Wodonga now known as Belvoir Park and asked permission to work on part of the area. He eventually purchased a house adjoining the area giving him more time and easy access to work on it. The Lagoon, Lake Huon, Belvoir Lagoon, Belvoir Park and Sumsion Gardens are all names used over time for what is today one of Wodonga’s favourite recreation and picnic spots. In the 1800s river boats could enter Lake Huon from Wodonga Creek. There was a jetty south of where the water fountain is today. In later years, this jetty was used by the Clay Bird Shooting Club. From the early 1900s football and cricket were played there, and some mining leases were also allowed. At one time there were open gravel pits between House Creek and the main lagoon, and these were subsequently filled with town garbage collected by the Council. In the late 1940s, Wodonga Golf Club took over part of Belvoir Park for a 9-hole golf course with sand greens. The Golf Club House was built in 1946. The Club extended the course to 12-holes when the football ground moved to Martin Park and the course later extended to 18 holes. Under Eric Sumsion’s care the area became a magnificent area of parkland and curated gardens. After he had retired in 1961 his work was acknowledged by the Shire Engineer, Mr Bill Page, when the Sumsion Gardens were named in his honour. He was also responsible for the design and curating of many other gardens in Wodonga, including those at Sarah Coventry and Richardson Park. Eric Sumsion died in July 1988, aged 85.This item is significant because it acknowledges the dedication and commitment of Eric Sumsion to the Wodonga Community.A collection of photographic image and an advertisement related to the work of Eric Sumsion in Wodonga.eric sumsion, parks and gardens wodonga

The photograph depicts a view across the water at Lake Sambell. The image is thought to date from the 1960s so may show the lake during a period of drought, such as that experienced across South-Eastern Australia in 1967. The present day park and reserve occupies the site of the former Rocky Mountain Mining Company, an open-cut sluice mine that began operations in the mid-Nineteenth Century and operated until the early 1900s, through the peak of Victoria’s Gold Rush. It was converted into a park and leisure area in the 1920s. Lake Sambell was formally opened to the public on Friday 5th October 1928 and was opened by the Victorian Government’s Minister of Lands, Mr Bailey, as part of initiatives to boost the economies and development of country towns. The lake was named after Mr L.H. Sambell, a shire engineer and secretary of the Forward Beechworth Committee who was involved in promoting the transformation of the mining site and promoting plantation forestry and tourism as alternative industries. £300 to begin the process was provided by Mr J. McConvill, a former resident of Beechworth, who is remembered in a street name adjacent to the lake. Residents of Beechworth have worked to raise funds to improve the Lake Sambell reserve several times, such as efforts in the 1930s and 1940s to raise the banks several feet to deepen the water for swimming purposes. Fundraising campaigns include the ‘Ugly Man’ competition conducted on behalf of the Wallace Park-Lake Sambell Development Scheme. The latter competition was run by the Fire Brigade Bend’s team as part of a larger competition called the ‘Mile of Pennies’; it was won by Mr Len Knight of Beechworth’s Commercial Hotel. The ‘Mile of Pennies’ was conducted at a Carnival held on New Year’s Eve, 1947. It was proposed by the Beechworth and District Progress Association. As well as improving swimming facilities, funds were raised to install a caravan park facility near the lake. Funds were also donated by commercial entities, such as £250 received from Zwar Bros. Pty Ltd.The photograph is significant as it shows Lake Sambell at lower water levels, such as may have been experienced during period of drought.Sepia rectangular photograph printed on matte photographic paperObverse: nil Reverse: 3470beechworth, beechworth lake, lake sambell, lake, beechworth and district progress association, forward beechworth committee, ugly man, mile of pennies, wallace park lake sambell development scheme, wallace park-lake sambell development scheme, zwar bros, zwar, l.h. sambell, j. mcconvill, minister of lands, commercial hotel, len knight, rocky mountain mining company, rocky mountain mining co, gold rush, redevelopment, transformation, community fundraising, drought, 1967, 1960s

Part of a personal letter from a church member printed on yellow paper with a black and white photograph. Transcription: "And so home again to .. a fire!! Eltham Christina School and Church, where I worship was extensively burned by a known arsonist on Oct 10 (1998). We lost tthe 3 school rooms and 2/3 of the church. Another school kindly offered classrooms for the children. November 28 and a makesafe wall means school and church are now functioning in the good 1/3 of the church, until the remainder is rebuilt. So many have ministered to us in so many ways over these past weeks and we do thank the Lord for each one." The Stokes family settled in this area of Eltham in the 1940s and were associated with the Eltham Christian Church. In the 1970s this church had met in temporary premises in Eltham. Lots of the original 1920s subdivision remained south of Nyora Road and a number of these lots were utilized for the Eltham Christian School, which was established by the Eltham Christian Church in 1981. The school operated on this site until 2000. The premises were owned by the Nillumbik Community Church who were in operation till November 2010 when the Eltham Baptist Church commenced a lease arrangement until the site was purchased by them in April 2012. The building is constructed of brick and timber with a balcony on two sides that looks over an expanse of grass. Sources: STOKES ORCHARD – AN INCOMPLETE HISTORY February 28, 2015 http://www.elthamhistory.org.au/ Australian Christian Church Histories - Eltham Baptist Church http://www.churchhistories.net.au/church-catalog/eltham-vic-baptist/ From a magnetic spiral bound photo album featuring a series of photographs (some cropped) with captions relating to the staff, students and activities of the Eltham Christian School which operated as part of the Eltham Christian Church at Nyora Road, Eltham. See also entries for each photograph.Typed letter printed on yellow paper with a black and white photographeltham christian school, nyora road, fire damage

This flag originally flew from the flagstaff on the Trades Hall Building in Camp Street Ballarat on December 3rd 1942. The flag prompted many enquiries to the Ballarat's Courier newspaper. The Courier in reporting that the flag was, in fact, a replica of the original Eureka Stockade flag went on to say that: "… it (seemed) very strange that the town in which Eureka made a name for Australia and its efforts to get freedom from control for the ordinary man, did not recognise the flag that flew while the first move for freedom was fought out against big odds." The Trades Hall Eureka flag, made of cotton material, was used in union marches during the 1940s. In later years it had been all but forgotten, until in 1981 it was brought to the office of the then MHR for Ballarat, John Mildren by members of the family that the flag maker had boarded with in Ballarat. David Miller, who had a keen interest in the Eureka story and was electorate officer for John Mildren, became custodian of the flag for many years and presented it to Ballarat Trades Hall for display. In 1994 The Ballarat Trades Hall Eureka flag travelled Australia as part of a touring Eureka collection. At that time, the Secretary of the Ballarat Regional Trades and Labour Council, Graeme Shearer said “…The Eureka flag then, as it does now, symbolises the struggle for basic rights and democracy”. On Wednesday 11th July 2001, following a ceremony to mark the refurbishment of the Galloway Monument, the Ballarat Trades Hall Eureka flag was unveiled at a function in the Ballarat Trades Hall by President of the Ballarat Trades & Labour Council, Rhonda Young, and Premier of Victoria, Steve Bracks. The Trades Hall gratefully acknowledges the assistance of Dean Mighell, then Victorian State Secretary of the CEPU/ETU - who was a passionate supporter of the diggers' stand at Eureka - and instrumental in making funds available to assist in Trades Hall's Eureka flag being mounted in the Main Hall of the Ballarat Trades Hall. As far as we know, this is the second oldest Eureka flag in the world. Union (especially Ballarat Trades and Labour Council) history and Eureka Stockade - Ballarat.Flag; blue background; white embellishments - cross and stars; framed.btlc, ballarat trades hall, ballarat trades and labour council, mildren, john, miller, david, southern cross flag - btlc, eureka rebellion, trade unions - history, gold mining - ballarat, gold miners, eureka flag - btlc

Percy Henry (Harry) Pledger (1884-1954) and Eleanor Elizabeth George (1888-1963). They married in 1908 in St Peters, Paddington, London. Percy was a tailor in Barnet, Middlesex and the family migrated to Australia in 1923, arriving in Brisbane on 11 December 1923. They settled in Surrey Hills. Percy had a tailoring and later knitwear business at 418 Canterbury Road, almost opposite Alexandra Avenue (? also at another time in Hansen's Terrace in Canterbury Road). The family was musical. Their children were: Son Percy who joined the staff at Allan’s Music House and rose to become their chief accountant. He also taught and played the violin in a number of orchestras. (See individual entry for him - SH1207) Daughter Jessie married Arthur John Marston Bate (1906-1994) in 1941; he was born in Birmingham and his father was also a tailor. Arthur gained BA and MA from the University of New Zealand. He was also primarily a musician, but worked in theatre, broadcasting and teaching in New Zealand and at the State Theatre in Melbourne and the ABC. He was a pilot during WW2 (SERN 255363), rising to the rank of Flight Lieutenant and also a RAAF Chaplain. Jessie and Arthur lived in Hawthorn, Ashwood and Mount Waverley. They are buried in Box Hill Cemetery (CE-213-0029) along with daughter Christine Elizabeth. Stanley Bertram Pledger, along with Harold Sydserf, assisted Stan's brother Percy to establish the Surrey Hills Musical Club in the 1920s . It soon increased to 12 or 15 members, giving 4 concerts a year. They combined with the Surrey Hills Dramatic Society to produce operettas. In time the group expanded to a total of 30 players and became the Camberwell Symphony Orchestra. Stanley Bertram Pledger (1912-1996) is listed in electoral rolls at a number of addresses around Surrey Hills: 1927 - 36 Suffolk Road; 1940s - Essex Road; 1977 - Burwood. All entries consistently give his occupation as manufacturer and it is assumed that this was with the family business. He retired to Kiama, NSW.A black and white photograph of a couple standing in the rear garden. The lady is wearing a short sleeved, knee length dress and the man is wearing long trousers held up by braces and a short sleeved shirt.clothing and dress, tailor and knitwear, (mr) percy henry pledger, (mrs) eleanor elizabeth pledger, (mrs) nell pledger, (miss) eleanor elizabeth george

Nell Pledger - Eleanor Elizabeth George (1888-1963) was the wife of Percy Henry (Harry) Pledger (1884-1954). They married in Paddington, London in 1908. Percy was a tailor in Barnet, Middlesex and the family migrated to Australia in 1923, arriving in Brisbane on 11 December 1923. They settled in Surrey Hills. Percy had a tailoring and later knitwear business at 418 Canterbury Road, almost opposite Alexandra Avenue (? also at another time in Hansen's Terrace in Canterbury Road). The family was musical. After leaving school son Percy joined the staff at Allan’s Music House and rose to become their chief accountant. He also taught and played the violin in a number of orchestras. (See individual entry for him - SH1207) Jessie married Arthur John Marston Bate (1906-1994) in 1941; he was born in Birmingham and his father was also a tailor. Arthur gained BA and MA from the University of New Zealand. He was also primarily a musician, but worked in theatre, broadcasting and teaching in New Zealand and at the State Theatre in Melbourne and the ABC. He was a pilot during WW2 (SERN 255363), rising to the rank of Flight Lieutenant and also a RAAF Chaplain. Jessie and Arthur lived in Hawthorn, Ashwood and Mount Waverley. They are buried in Box Hill Cemetery (CE-213-0029) along with daughter Christine Elizabeth. In the 1920s Stanley Bertram Pledger, along with Harold Sydserf, assisted Stan's brother Percy to establish the Surrey Hills Musical Club. It soon increased to 12 or 15 members, giving 4 concerts a year. They combined with the Surrey Hills Dramatic Society to produce operettas. In time the group expanded to a total of 30 players and became the Camberwell Symphony Orchestra. Stanley Bertram Pledger (1912-1996) is listed in electoral rolls at a number of addresses around Surrey Hills: 1927 - 36 Suffolk Road; 1940s - Essex Road; 1977 - Burwood. All entries consistently give his occupation as manufacturer and it is assumed that this was with the family business. He retired to Kiama, NSW.A black and white photograph of a lady dresses in a fur coat, and standing on the pavement with buildings in the background.alexandra avenue, canterbury road, union road, surrey hills, knitwear business, streetscape, (mrs) eleanor elizabeth pledger, (mrs) nell pledger, (mr) percy pledger, (miss) eleanor elizabeth george

Marjorie Joyce Haeffner informed that she was born at Mosgiel Hospital in Mont Albert Road, Surrey Hills in 1924, soon after it opened. According to electoral rolls, her parents Henry Norman Neil and Mabel Haeffner were living at 22 Wharton Street, Surrey Hills at this time. Henry's parents Henry Thomas Haeffner (1858-1935) and Eliza Jane (ms Chesney - 1868-1940) were farmers in the Tallangatta area. Their farm was called 'Ferndale'. Another farm in the area - 'Spring Creek' - was the address of Marj's parents in 1922 before they moved to Melbourne. Some time after 1926 and by 1931 Marj's parents had moved back to Tallangatta to help out on his parents' farm. This was lost during the Depression. Marj's family moved back to Melbourne; her grandparents stayed in the North Albury area until they died. Electoral roll entries show that there was considerable movement of extended family members between town and country. Marj's parents moved back to Surrey Hills; the electoral roll lists them at 33 Clyde Street in 1936 but Chatham Primary School's list of students records that Marj was there from 1932-1937. She had siblings Jack (enrolled in 1933) and Donald (enrolled in 1934). In 2019 this Edwardian timber home still stands. Marj was an enthusiastic member of a women's cricket club in the 1940s and 1950s. According to Jocelyn Hall's photo register, this photo was taken at the Haeffner home in Clyde Street. After she married Marj did not moved far from her childhood home in Clyde Street. She and her husband Brian Lindsay (known as Lindsay) Higgins bought 31 Langford Street, Surrey Hills, a Californian bungalow on a wide block, and between 1961 and 1970 Marj's children Margaret, Wendy, Deborah, Robyn, Adam and Christopher Higgins were also enrolled at Chatham. Marj's home in Langford Street was sold in April 2019 for $2.08M.A black and white photograph of a lady dressed in white cricket gear standing in front of a house.cricket, women's cricket, (miss) marjorie haeffner, (mrs) marjorie higgins, clyde street

This photo was taken in the 1960s from a northeast position looking down towards Lake Sambell, the caravan park, and the surrounding area. This photo was taken during a period of rejuvenation for the lake area including the opening of the caravan park in 1959 and the swimming pool area in 1961 (this pool is just visible in the centre of the photo). The popularity of caravanning in Australia exploded during this post-war period of the late 1950s and 1960’s. This popularity was driven by multiple factors, including: the stopping of fuel rations, the accessibility of car ownership through the manufacturing of affordable cars, technological developments in caravan design, and the increase in prosperity and leisure time for many Australians. Lake Sambell is an artificial lake that was developed on the previous site of the Rocky Mountain Mining Company workings and was officially opened by Minister for Lands, Mr Baily, on October 5, 1928. The disused and unattractive remains of the mine were converted into a recreational area intended for swimming, boating, and fishing. The lake is named after Mr L.H. Sambell, shire engineer and secretary of the Forward Beechworth Committee, who advocated for the enhancement of Beechworth into a tourist destination and was central to the planning and establishment of the lake. Funding for the project was raised by both competition funds and donations. Since the construction in 1928 several engineering issues have arisen. In 1939 the water levels were low, and the lake was considered both an eyesore and ‘mudhole’, Beechworth Shire Council sort funding to raise the height of the lake six feet to improve the quality of water. Throughout the 1940s the Beechworth Swimming Club tried to raise awareness and funds to address the structural engineering issues and improve swimming facilities at the lake. R.E. Carter, similar to L.H. Sambell, was a shire engineer who advocated the importance of positioning Beechworth as a tourist destination. Carter held the position from 1954-63 and organised many improvements to the Lake Sambell area including the caravan park in 1959, the lake swimming pool in 1961, water skiing and boating facilities, and increased the lake surface are in 1964. These improvements were financed mainly by grants from the Tourist Development Authority. This photograph is of historical significance as it documents Lake Sambell and the surrounding area in the 1960s after a phase of enhancements to improve the appearance and usability for both the people of Beechworth and tourists. It is also of social significance in providing an insight into the increase in leisure time and access to travel during a period of post-war prosperity.Black and white rectangle photograph printed on matte photographic paper and unmounted.Reverse: 1 / [logo KODAK/ VELOX/ PAPER] / C798 / 3535lake sambell, lake sambell caravan park, lake sambell swimming pool, caravan park, caravanning 1960s, rocky mountain mining company, l.h. sambell, r.e. carter, beechworth swimming club, forward beechworth committee, minister of lands, tourist development authority, lake swimming, swimming, boating, fishing, water skiing, beechworth 1960s, lake sambell fishing, lake sambell boating

This overcoat was designed and tailored by Dominex, a company that sold clothing in high end department stores such as Myer and David Jones in the 1940s through to the 2000s. As pictured in the accompanying advertising, Dominex looked to produce clothes for women to “casually, confidently wear … the exquisite styling and superb tailoring of… Dominex Coats”. This sentiment was carried by the company for more than 60 years. Amanda Morgan, a director of the Dominex fashion label in an interview from 2003 said “Not everybody wants sass, or sex, or high fashion for that matter. Au contraire. Our customers will be stylish, sophisticated and womanly, but we don’t do shoestring straps or asymmetrical lines." Dominex was a label specialising in exceptional quality "traditional" dressing for corporate wear. Their clothes looked to provide women with a return to the tried and true values of elegant, unpretentious, classic dressing. "Our look is European-influenced," Morgan explained further. "Inspired by Armani, Valentino, Chanel and Escada. Suits have been specially dyed in France to ensure the perfect shade of ice blue, lemon, grey, or slate. Fabrics are natural, silk and linen. Shapes are stylish, with an almost 1930s feel; classic pants, silk shirts, structured overcoats with elegant-length” Returning to this overcoat, it has a label on the inside which reads “Pure Wool Material by Godfrey Hirst of Geelong”. Nowadays Godfrey Hirst produce flooring products and are the largest manufacturer and exporter of residential and commercial carpets in Australasia. They have expanded into hard flooring and left their fashion days behind. This overcoat serves as a useful example of a different time for the company; before they made the change to concentrating exclusively on flooring, when they produced fabrics to be tailored for the height of Australian fashion. This overcoat was purchased and worn by Joan Waller, aunty of the donor, Kim Rosenow. Kim said her aunty was from Ballarat but frequently shopped in Melbourne to keep up with the latest trends. Her aunty Joan fitted the target demographic of Dominex well, as she needed to look sophisticated and elegant at social events and work. Kim donated the overcoat to the National Wool Museum in 2021. Green singled breasted overcoat with a narrow overlap and one column of buttons for fastening. The overcoat features notched lapels of a medium width and two large buttons of a green & dark green marble. The overcoat has two semi-visible jetted pockets at the hips. Internally, the overcoat features a black silk lining for comfort. It also features a stitched patch on the left side of the opening which reads “Pure Wool Material by Godfrey Hirst of Geelong”. At the collar, another patch reads “Dominex REGD”. At the cuffs, the overcoat finishes in a type of gauntlet cuff which stretches back over 200mm. The decorative finish utilises no buttons and has thick piping to accentuate this design feature. The overcoat finishes with a simple invisible hem at the bottom.Wording, gold. Patch stitched at collar: “DomineX / REGD.” Wording, black. Patch stitched at left off opening: “PURE WOOL MATERIAL BY / Godfrey Hirst / OF GEELONG”dominex, fashion, women's corporate wear, godfrey hirst, overcoat, wool clothing

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a long drop toliet at the Catholic Church, Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a brick church at Sandon, Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Details of the exterior of St Laurence O'Toole Catholic Church, Sandon in Central Victoria.sandon, sandon cemetery, st laurence o'toole catholic church, sandon, sandstone, foundations

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Brick church at Sandon, Victoriasandon, sandon cemetery, st laurence o'toole catholic church, sandon

St Laurence O'Toole church and cemetery is located in a rural setting at 801/821 Creswick-Newstead Rd, Sandon. Originally a small wooden school (22’x14’) was erected in Sandon by Father Patrick Smyth (who was involved in the Eureka Stockade movement) in 1859. It was also used for Mass and became known as a chapel. In June 1882 tenders were called for the construction of a brick Church by the Castlemaine architect, T.F. Kibble, and it was built at a cost of 1000 pounds. The church was blessed by Archbishop Goold on 06 May 1883 and dedicated to St Laurence O'Toole. The brick building demonstrates original design qualities of a Victorian Rudimentary Gothic style, including the steeply pitched, parapet gable roof form, together with a central steeply pitched, gabled porch that projects slightly from the main gable end. Other intact qualities include the exposed brick wall construction, lapped galvanised corrugated iron roof cladding, minor gabled porch at the rear, small ventilation dormers nearby the roof ridgeline, series of stone steps that lead to the central porch with its double pointed door opening and vertical boarded doors, simple rose window in the main gable end, pointed windows, brick buttresses with double lower copings, and the light masonry detailing (the banding marking the floor level within, buttress copings, window and door surrounds and quoins, and the drip moulds).(Shire of Mount Alexander: Heritage Study of the former Shire of Newstead, 2000) The visually connected cemetery demonstrates important visual qualities formed by the regular rows of graves and cemetery architecture, and the grassed and treed rural landscape. It is a rare and substantially intact example of a Victorian Catholic Church with a cemetery in its churchyard. Many headstones and cemetery architecture, date from the 19th century and represent some fine examples of masonry craftsmanship. Some refurbisments occurred during the 1940s and in 2002 a major restoration project was undertaken from roof to footings, by a dedicated band of volunteers and trades people. Work was completed mid 2003 and in November 2003 St Laurence’s was re-dedicated with the celebration of Mass and a picnic tea. Colour photograph of a red brick church in Sandon. sandon, sandon cemetery, st laurence o'toole catholic church, sandon