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Wodonga & District Historical Society Inc
Photograph - Terminus Hotel, Wodonga, C. 1906
The Terminus Hotel, Wodonga was built by James Thompson Hatch in 1873, the same year the railway reached Wodonga from Melbourne. It was named due to its close proximity to the railway terminus. It was sold to Messrs George Day and Kenneth McLennan of Albury. It was first licenced to J.G. Morton in January 1874. Annie Allen, from Ireland, took over as licensee of the hotel containing 14 rooms in 1879, after she and her husband, George James Allen, purchased it. In 1887 they added a new wing on the south boundary of the property next to Peter McLean’s store at 81 Sydney Road. The architects for the new wing were Gordon and Gordon. A billiard room, a dining room, and 18 other rooms were added on the vacant block of land between the Hotel and the Bank of Victoria. A balcony 6 feet wide was added on the north side. Included in the plans was the latest patent elevator, later known as a dumb waiter. Allen died in 1889 aged 52, and Annie Allen continued to run the Terminus. She later married John G. Haldon and was licensee of the hotel until December 1898 when the licence was transferred to William Carkeek. Carkeek, from Cornwall, arrived in the colony around 1860 and is considered one of the founders of Tallangatta. In November 1903, the license was transferred to Daniel Crawford, then in 1906 it was transferred to Mr Stephen Carkeek. In 1916 it passed into the hands of Mr H. W. Allen of Rutherglen, son of Mr George James Allen. Between 1916 and 1933 there were a variety of licensees. In October 1933, the stables and garage at the rear of the Terminus Hotel were totally destroyed by fire. In 1935, the Terminus again underwent a series of improvements and extensions at the cost of £3,000. The front of the premises was extended in the fashionable Spanish mission style. The balcony of brick and concrete was extended to be 18 feet wide, wire gauged and fitted with glass slides and a tile roof. In addition to 15 new bedrooms, four more bathrooms, making seven in all, were available for patrons. These were on the second floor, while beneath them provision was made for four shops and a new kitchen and a laundry. Throughout the 1930s and 1990s the licensee and owners changed several times. On 1st June 1998 the Terminus Hotel was destroyed by fire. Estimates of damage range from between a conservative $750,000 to as high as $2 million. The remains of the building were demolished in 1999.The Terminus Hotel was one of the earliest hotels in Wodonga with clear links to the establishment of the railway line. It was an important business and meeting place for social gatherings.Allen's Terminus Hotel in Main Street (known as Sydney Road and later High Street, Wodonga). This image is dated as November 1906, however research suggests the hotel was operated by the Carkeek family and then and also Mr. Daniel Crawford prior to this date. The Terminus was sold by auction on 5th March 1909 as part the estate of Annie Haldon. Annie Allen had married John George Haldon in 1890.Across front of building "ALLENS TERMINUS HOTEL"hotels wodonga, businesses wodonga, terminus hotel wodonga -
Brighton Historical Society
Cape, Opera cape, circa late 1920s
This velvet opera cape was worn by Agnes Emmeline "Dot" McCowan (nee Iredell, 1887-1969) to a reception for English aviatrix Amy Johnson in her North Road home in the early 1930s. Amy Johnson achieved worldwide fame in 1930 when she became the first woman to fly solo from England to Australia. Dot was the fourth child, and only surviving daughter, of Dr Charles Lesingham Maynard Iredell and Frances Keziah Iredell (née Hill), both formerly of Regents Park, London. Her parents had arrived in Australia in 1885 after Charles, a medical specialist, lost his money and house in the financial crash of 1880. In Melbourne, Charles established a reputation as an ear, nose and throat specialist and counted Dame Nellie Melba among his patients. Dot was schooled at Fairlight College in St Kilda. After falling from a tree at the age of twelve, she developed curvature of the spine. While recuperating, she took a correspondence course in theory and harmony of music with the Royal College of Music, London. She continued to pursue music after her recovery, ultimately winning an international scholarship to study piano and singing in Leipzig, Germany, but did not take up the offer due to her father's objections. She instead remained in Melbourne, where she put her skills to use as a music teacher. After her first fiancé disappeared at sea, Dot found happiness again with George Drummond. George owned a substantial property in Manjimup, Western Australia, and the couple planned to settle there after the wedding. It was not to be. Like many Australian men, George was killed in action on the Western Front during the First World War. It had become customary in George's wealthy family to give each son's bride a gift of one thousand pounds. Though Dot and George were never able to marry, the family nevertheless honoured the custom, and between their generous financial gift and her own teaching income, Dot was able to buy a well-appointed home at 9 North Road, Brighton for herself and her parents. The house remained in the family for many decades. In 1923, at the age of thirty-six, Dot met and fell in love with Alexander James McCowan. They were married on 28 February 1924; the reception was held in the North Road house.Salmon pink velvet opera cape with a padded collar and long fringe. Fastens at collar with a pair of circular metal clasps engraved with floral designs and accentuated with purple enamel. Silk lining.agnes emmeline iredell, agnes emmeline mccowan, opera cape, 1920s, 1930s, amy johnson -
Federation University Historical Collection
Photograph - Little Gem tintype, Portrait of a Man
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .4) A tintype portrait of a man, attached to a card. little gem, tintype, man, unidentified man -
Federation University Historical Collection
Photograph - Little Gem tintype, Possibly American Studio, Portrait of a child
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a child, attached to a card. little gem, child, hat -
Federation University Historical Collection
Photo - Little Gem tintype, Possibly American Studio, Portrait of a child
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .5) A tintype portrait of a child, attached to a card. little gem, photography -
Federation University Historical Collection
Photograph - Little Gem tintype, American Studio, Portrait of a Woman
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card. Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat"ballarat, american studio, little gem, allen gove, tintype, woman, unidentified woman -
Federation University Historical Collection
Photograph - Little Gem tintype, Possibly American Studio, Portrait of a Boy
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a child's head and torso, attached to a card. The boy is wearing a suit and the cheeks have been hand coloured.little gem -
Flagstaff Hill Maritime Museum and Village
Instrument - Fob watch, 1814
Watchmaker History: James McCabe born in 1748 and was the son of Patrick McCabe, a notable watchmaker from Lurgan in County Armagh, Ireland. James McCabe immigrated to London in 1775 where he established his own business in Bells Building, Fleet Street. On 2nd April 1781, James McCabe was made an Honorary Freeman of the Clockmakers Company. The House of McCabe was renowned for the sheer variety of its designs and the creativity and prestige of their manufacture was celebrated and revered by owners worldwide. These pieces remain highly collectable today and fetch increasingly higher prices at auction houses worldwide. Watch association with the Loch Ard: The watch was saved from the sea when discovered on the body of Mrs Rebecca Carmichael from Dublin and handed to Eva Carmichael, the only family member to survive the fatal wreck of the Loch Ard on 1st June 1878. Eva gifted the watch to her husband, Thomas Achilles Townsend when they married in 1884; his name is engraved on the rear movement cover. The watch has been held by the family until 2011 when they decided to bring the watch, to Australia for auction. At this time the watch was in the possession of Eva Carmichael's grandson, Robert Townsend. Given its connection with the Loch Ard shipwreck It was purchased at auction by Flagstaff Hill Maritime Village on 25th October 2011 to add to it's Loch Ard collection and is currently referred to as the Carmichael watch. It is now on display alongside the Minton Peacock, which also survived the Loch Ard shipwreck, and other artefacts from the collection. James McCabe was originally a Belfast watchmaker who had moved his business to London. At the time James McCabe was much esteemed for producing fine watches and clocks, especially for export to India. Only the best watches were inscribed “James McCabe” and many with highly decorated cases were intended for the Indian market. Contemporary newspaper accounts of the watches discovery echoed a Carmichael family tradition that the watch had been intended as a gift from the City of Dublin to King George IV to mark his planned visit to the city in 1821 however there is no evidence to support this theory. Dr Evory Carmichael at some stage bought this watch some accounts say from a nobleman for about £100 and so it travelled with him on his final fateful journey to Australia. Today we can only guess at the actions of Mrs Carmichael in the chaos and darkness of the pre-dawn shipwreck. Perhaps the two items that were found on her body, the watch and a locket, were items that reminded her of those she held most dear, her husband and her family. When Mrs Carmichael's body was washed ashore the watch was found secreted in the waistband of her dress. In its own right the watch is of artistic and monetary value and is a rare and beautiful object depicting watch making in the early 19th century. It is a historically significant object in it’s own right and there is additional importance, surviving a significant event in the maritime history of Victoria. The wreck of the Loch Ard, Victoria's greatest maritime disaster has also been declared an event of National Significance because of its strong connection to Australia's immigration and maritime history. The watch, together with the Loch Ard Peacock, make up the two most significant shipwreck artefacts in Australia. Both of these items are of great social significance to not only local people but the wider Australian community. Funding for the watches purchase came from six local trusts and one anonymous citizen and is now on permanent display. Both these artefacts symbolise and helps to interpret the stories of survival along the Shipwreck Coast. Fob Watch, known as the "Carmichael Watch" or the "Loch Ard Watch". 1814 fob pocket watch belonging to the Carmichael family, recovered from the wreck of the Loch Ard. Fob watch (or pocket watch)and winding key, made by James McCabe and Son, of Cornhill, London. The watch is in excellent condition and its design is decorative and intricate. The gold face is covered by glass. The gold rear cover is hinged over a silver inner cover that includes the winding hole. The watch has a knob with a swinging ring from which it can be hung. The dial of the gold watch face is textured and has raised Arabic numerals and every minute is marked around the perimeter by a dot, with the 5-minute dots slightly larger. The numerals and dots are a different coloured gold than the rest of the face. The centre of the face has a wavy pattern fanning out to the base of the numerals. The hour and minute hands are of a dark colour. The stems of the hands are a wavy shape and finish with spade shaped tips; the tip of the hour hand is larger than that of the minute hand. The hour hand reaches to the base of the numerals and the minute hand is long enough to rest between the minute dots. The back of the watch is decorated with a detailed design on a textured gold background. The design is embossed in coloured metals; gold, silver, greenish-gold and pink. In the centre is a dove resting on leaves of a pot plant that sits on a silver circular base. Another dove is flying above it, and their beaks touch together. On the right of the base of the pot plant is a dog resting on its hind legs, body facing away from the plant and head twisted around to look at the birds. On the sides of this design and meeting at the base are sprigs of leaves and buds. Around this central design is a rope-like border. Around the perimeter of the case is a border of leaves and budding stems. The inside of this cover has embossed hallmarks, numbers and etched markings indicating that the watch is 18 carat gold, made by James McCabe, assayed in London in 1814 and the case may have been made by Daniel Willmott, case maker. The silver inner workings cover has a full name beautifully engraved on it. There is a winding hole that accesses a square-ended lever for the key to fit over. The handle of the watch is a twisted gold knob with a hollow ‘D’-shaped swinging ring attached to the end of it. This knob also has a hallmark.On the silver inner workings cover “Thomas Achilles Townshend” is engraved, underscored by a thin, delicately decorated line. On the gold handle is the logo of a crown with “18”’ next to it. Inside the gold rear case is stamped “DW’. Under that is etched “JAN 77 II”. Underneath this are 3 logos; a logo “leopard, crowned”’, a logo “ crown on top of 18”, and a logo “T”. Under these 3 symbols is part of a stamp that could possibly be “IMC”. Under this is “ ’ 5 9 4 ”. Other numbers, symbols and letters are etched into this case including “15001”, “2/5/19”. Others are difficult to read.warrnambool, shipwrecked coast, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, maritime museum, shipwrecked artefact, shipwreck artefact, carmichael, townshend, townsend, carmichael watch, loch ard watch, pocket watch, loch ard, 1st june 1878, james mccabe, thomas walker, robert townshend, loch ard gorge, great ocean road, victoria., memorial headstone -
Flagstaff Hill Maritime Museum and Village
Machine - Pulley Sheave, Circa 1886
The pulley sheave comes from the Falls of Halladale, a four-masted iron-hulled barque that was built in 1886 for the long-distance bulk carrier trade. The vessel was built for the Falls Line (Wright, Breakenridge & Co., Glasgow, Scotland) at the shipyard of Russell & Co., Greenock on the River Clyde, she was named after a waterfall on the Halladale River in the Caithness district of Scotland. The ship's design was advanced for her time, incorporating features that improved crew safety and efficiency such as elevated bridges to allow the crew to move between forward and aft in relative safety during heavy seas. The Falls of Halladale was the seventh vessel in a series of eight similar iron-hulled sailing ships, all built by Russell & Co and all named after waterfalls in Scotland. The Falls of Halladale was preceded by the Falls of Clyde (1878), the Falls of Bruar (1879), the Falls of Dee (1882), the Falls of Afton (1882), the Falls of Foyers (1883) and the Falls of Earn (1884). The Falls of Halladale was followed by a sister ship, the Falls of Garry (1886). The Falls of Clyde is afloat today and is a major attraction at the Hawaii Maritime Center in Honolulu. The Falls of Halladale is best known for her spectacular demise in a shipwreck near Peterborough, Victoria on the shipwreck coast of Victoria, Australia. On the night of 14 November 1908, she was sailed in dense fog directly onto the rocks due to a navigational error. The crew of 29 abandoned ship safely and all made it ashore by boat, leaving the ship foundering with her sails set. For weeks after the wreck, large crowds gathered to view the ship as she gradually broke up and then sank in the shallow water. Soon after the accident the ship's master, Capt. David Wood Thomson was brought before a Court of Marine Inquiry in Melbourne and found guilty of a gross act of misconduct, having carelessly navigated the ship, having neglected to take proper soundings, and having failed to place the ship on a port tack before it became too late to avoid the shipwreck. Capt. Thomson's punishment included a small fine and he had his Certificate of Competency as a Master suspended for six months. Today the Falls of Halladale is a popular destination for recreational divers. The wreck is easily accessible by scuba divers about 300 m offshore in 3 to 15 m of water. The hull lies on its collapsed starboard side. Some of the original cargo of 56,763 roof slates remains at the site of the wreck along with corroded masses of what used to be coils of barbed wire. Twenty-two thousand slates were salvaged in the 1980s and used to provide roofing at the Flagstaff Hill Maritime Village in Warrnambool. An anchor that was recovered in 1974 is on display at the village. The pulley sheave is significant as a salvaged item from the Victorian heritage-listed Falls of Halladale wreck. As an artifact from the wrecked ship, it helps us to remember today the story of the wrecking and is an important reminder of a marine incident in Victoria's maritime history. Wooden Pulley Sheave from the vessel Falls of HalladaleNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wooden pulley sheave, falls of halladale -
Flagstaff Hill Maritime Museum and Village
Functional object - Rope
The encrusted rope probably used on rigging comes from the Falls of Halladale, a four-masted iron-hulled barque that was built in 1886 for the long-distance bulk carrier trade. The vessel was built for the Falls Line (Wright, Breakenridge & Co., Glasgow, Scotland) at the shipyard of Russell & Co., Greenock on the River Clyde, she was named after a waterfall on the Halladale River in the Caithness district of Scotland. The ship's design was advanced for her time, incorporating features that improved crew safety and efficiency such as elevated bridges to allow the crew to move between forward and aft in relative safety during heavy seas. The Falls of Halladale was the seventh vessel in a series of eight similar iron-hulled sailing ships, all built by Russell & Co and all named after waterfalls in Scotland. The Falls of Halladale was preceded by the Falls of Clyde (1878), the Falls of Bruar (1879), the Falls of Dee (1882), the Falls of Afton (1882), the Falls of Foyers (1883) and the Falls of Earn (1884). The Falls of Halladale was followed by a sister ship, the Falls of Garry (1886). The Falls of Clyde is afloat today and is a major attraction at the Hawaii Maritime Centre in Honolulu. The Falls of Halladale is best known for her spectacular demise in a shipwreck near Peterborough, Victoria on the shipwreck coast of Victoria, Australia. On the night of 14 November 1908, she was sailed in dense fog directly onto the rocks due to a navigational error. The crew of 29 abandoned ship safely and all made it ashore by boat, leaving the ship foundering with her sails set. For weeks after the wreck, large crowds gathered to view the ship as she gradually broke up and then sank in the shallow water. Soon after the accident the ship's master, Capt. David Wood Thomson was brought before a Court of Marine Inquiry in Melbourne and found guilty of a gross act of misconduct, having carelessly navigated the ship, having neglected to take proper soundings, and having failed to place the ship on a port tack before it became too late to avoid the shipwreck. Capt. Thomson's punishment included a small fine and he had his Certificate of Competency as a Master suspended for six months. Today the Falls of Halladale is a popular destination for recreational divers. The wreck is easily accessible by scuba divers about 300 m offshore in 3 to 15 m of water. The hull lies on its collapsed starboard side. Some of the original cargo of 56,763 roof slates remains at the site of the wreck along with corroded masses of what used to be coils of barbed wire. Twenty-two thousand slates were salvaged in the 1980s and used to provide roofing at the Flagstaff Hill Maritime Village in Warrnambool. An anchor that was recovered in 1974 is on display at the village. The encrusted rope is significant as a salvaged item from the Victorian heritage-listed Falls of Halladale wreck. As an artifact from the wrecked ship, it helps us to remember today the story of the wrecking and is an important reminder of a marine incident in Victoria's maritime history.Piece of encrusted rope. Artifact Reg No FoH/1.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, falls of halladale, shipwreck peterborough, 1908 shipwreck, great clipper ships, russell & co., rope -
Flagstaff Hill Maritime Museum and Village
Machine - Pulley Sheave, Circa 1886
The pulley sheave comes from the Falls of Halladale, a four-masted iron-hulled barque that was built in 1886 for the long-distance bulk carrier trade. The vessel was built for the Falls Line (Wright, Breakenridge & Co., Glasgow, Scotland) at the shipyard of Russell & Co., Greenock on the River Clyde, she was named after a waterfall on the Halladale River in the Caithness district of Scotland. The ship's design was advanced for her time, incorporating features that improved crew safety and efficiency such as elevated bridges to allow the crew to move between forward and aft in relative safety during heavy seas. The Falls of Halladale was the seventh vessel in a series of eight similar iron-hulled sailing ships, all built by Russell & Co and all named after waterfalls in Scotland. The Falls of Halladale was preceded by the Falls of Clyde (1878), the Falls of Bruar (1879), the Falls of Dee (1882), the Falls of Afton (1882), the Falls of Foyers (1883) and the Falls of Earn (1884). The Falls of Halladale was followed by a sister ship, the Falls of Garry (1886). The Falls of Clyde is afloat today and is a major attraction at the Hawaii Maritime Center in Honolulu. The Falls of Halladale is best known for her spectacular demise in a shipwreck near Peterborough, Victoria on the shipwreck coast of Victoria, Australia. On the night of 14 November 1908, she was sailed in dense fog directly onto the rocks due to a navigational error. The crew of 29 abandoned ship safely and all made it ashore by boat, leaving the ship foundering with her sails set. For weeks after the wreck, large crowds gathered to view the ship as she gradually broke up and then sank in the shallow water. Soon after the accident the ship's master, Capt. David Wood Thomson was brought before a Court of Marine Inquiry in Melbourne and found guilty of a gross act of misconduct, having carelessly navigated the ship, having neglected to take proper soundings, and having failed to place the ship on a port tack before it became too late to avoid the shipwreck. Capt. Thomson's punishment included a small fine and he had his Certificate of Competency as a Master suspended for six months. Today the Falls of Halladale is a popular destination for recreational divers. The wreck is easily accessible by scuba divers about 300 m offshore in 3 to 15 m of water. The hull lies on its collapsed starboard side. Some of the original cargo of 56,763 roof slates remains at the site of the wreck along with corroded masses of what used to be coils of barbed wire. Twenty-two thousand slates were salvaged in the 1980s and used to provide roofing at the Flagstaff Hill Maritime Village in Warrnambool. An anchor that was recovered in 1974 is on display at the village. The pulley sheave is significant as a salvaged item from the Victorian heritage-listed Falls of Halladale wreck. As an artifact from the wrecked ship, it helps us to remember today the story of the wrecking and is an important reminder of a marine incident in Victoria's maritime history. Wooden Pulley Sheave from the vessel, Falls of HalladaleNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, wooden pulley sheave, falls of halladale -
Flagstaff Hill Maritime Museum and Village
Functional object - Key, 1886
The key was recovered from the Falls of Halladale, a four-masted iron-hulled barque that was built in 1886 for the long-distance bulk carrier trade. The vessel was built for the Falls Line (Wright, Breakenridge & Co., Glasgow, Scotland) at the shipyard of Russell & Co., Greenock on the River Clyde, she was named after a waterfall on the Halladale River in the Caithness district of Scotland. The ship's design was advanced for her time, incorporating features that improved crew safety and efficiency such as elevated bridges to allow the crew to move between forward and aft in relative safety during heavy seas. The Falls of Halladale was the seventh vessel in a series of eight similar iron-hulled sailing ships, all built by Russell & Co and all named after waterfalls in Scotland. The Falls of Halladale was preceded by the Falls of Clyde (1878), the Falls of Bruar (1879), the Falls of Dee (1882), the Falls of Afton (1882), the Falls of Foyers (1883) and the Falls of Earn (1884). The Falls of Halladale was followed by a sister ship, the Falls of Garry (1886). The Falls of Clyde is afloat today and is a major attraction at the Hawaii Maritime Centre in Honolulu. The Falls of Halladale is best known for her spectacular demise in a shipwreck near Peterborough, Victoria on the shipwreck coast of Victoria, Australia. On the night of 14 November 1908, she was sailed in dense fog directly onto the rocks due to a navigational error. The crew of 29 abandoned ship safely and all made it ashore by boat, leaving the ship foundering with her sails set. For weeks after the wreck, large crowds gathered to view the ship as she gradually broke up and then sank in the shallow water. Soon after the accident the ship's master, Capt. David Wood Thomson was brought before a Court of Marine Inquiry in Melbourne and found guilty of a gross act of misconduct, having carelessly navigated the ship, having neglected to take proper soundings, and having failed to place the ship on a port tack before it became too late to avoid the shipwreck. Capt. Thomson's punishment included a small fine and he had his Certificate of Competency as a Master suspended for six months. Today the Falls of Halladale is a popular destination for recreational divers. The wreck is easily accessible by scuba divers about 300 m offshore in 3 to 15 m of water. The hull lies on its collapsed starboard side. Some of the original cargo of 56,763 roof slates remains at the site of the wreck along with corroded masses of what used to be coils of barbed wire. Twenty-two thousand slates were salvaged in the 1980s and used to provide roofing at the Flagstaff Hill Maritime Village in Warrnambool. An anchor that was recovered in 1974 is on display at the village. The key is significant as a salvaged item from the Victorian heritage-listed Falls of Halladale wreck. As an artifact from the wrecked ship, it helps us to remember today the story of the wrecking and is an important reminder of a marine incident in Victoria's maritime history. KeyNoneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, falls of halladale, shipwreck peterborough, 1908 shipwreck, great clipper ships, russell & co., key -
Eltham District Historical Society Inc
Negative - Photograph, Harry Gilham, Grave of William Hill and Agnes Somerville Irvine and family, Eltham Cemetery, Victoria, 1 Aug 2007
William Hill Irvine was born 6 July, 1858 in Newry, County Down, Ireland. He arrived in Melbourne December 1879 and taught at Geelong College. He was admitted to the Supreme Court in 1884 having qualified from Melbourne University and practiced in Melbourne. In 1891 he married Agnes Somerville Wanliss and they had one son, William Mitchell (1901 Armadale) and two daughters, Beatrice Wanliss (1899 Armadale) and Agnes Somerville Wanliss (1903 Armadale). Sir William Irvine sat in the Victorian Parliament (as Liberal Member for Lowan) from 1894 to 1906 and was Premier of Victoria from 1902 to 1904. He then switched to Federal politics and sat in the Commonwealth Parliament (as Liberal Member for Flinders) from 1906 to 1918. He was considered a potential Prime Minister, but his abrupt manner and hard-line conservatism (particularly his attitude to a railway strike) made him unacceptable even to many Liberals: he was known in Parliament as "Iceberg Irvine". He lived at Richmond, but in 1908 purchased land in Laughing Waters Road at Eltham, where he built the house ‘Killeavey’, initially as a weekend retreat. The site, a peninsula surrounded on three sides by the Yarra River, is of geological importance and has considerable cultural significance to the Wurundjeri. In 1912 Sir William moved to Killeavey and in 1913 purchased more land, extending his property to Reynolds Road. In 1923 he shifted to Toorak, donating Killeavey to his daughter Beatrice as a wedding gift. Sir William was a founding member of the RACV and was Acting Governor of Victoria from 1931 to 1934. He was also a notable public figure involved in several local events including the: 1919 Unveiling of Eltham War Obelisk 1921 Eltham Primary School Extensions 1921 Eltham Primary School Roll of Honour of prior students 1928 Opening of Eltham Higher Elementary School 1926 Unveiling the Shire of Eltham War Memorial in Memorial Park at Kangaroo Ground He died in 1943 and is buried in Eltham Cemetery with his wife Agnes along with son William Mitchell Irvine and his wife, Dora Haswell Sacred to the memory of William Hill Irvine G.C.M.G. Lieutenant Governor And Chief Justice of Victoria Born 6th July 1858 At Newry, Northern Ireland Died 20th August 1943 Also his wife Agnes Somerville Born at Ballarat 16th Nov 1867 Died at Eltham 16th Aug 1954 W. M. W. Irvine 1901-1975 And Dora Haswell Wife of W. M. W. Irvine 1900-1979eltham cemetery, gravestones, memorials, agnes sommerville irvine (nee wanliss), dora haswell irvine, william hill irvine, william mitchell irvine -
Eltham District Historical Society Inc
Negative - Photograph, Harry Gilham, Grave of William Hill and Agnes Somerville Irvine and family, Eltham Cemetery, Victoria, 1 Aug 2007
William Hill Irvine was born 6 July, 1858 in Newry, County Down, Ireland. He arrived in Melbourne December 1879 and taught at Geelong College. He was admitted to the Supreme Court in 1884 having qualified from Melbourne University and practiced in Melbourne. In 1891 he married Agnes Somerville Wanliss and they had one son, William Mitchell (1901 Armadale) and two daughters, Beatrice Wanliss (1899 Armadale) and Agnes Somerville Wanliss (1903 Armadale). Sir William Irvine sat in the Victorian Parliament (as Liberal Member for Lowan) from 1894 to 1906 and was Premier of Victoria from 1902 to 1904. He then switched to Federal politics and sat in the Commonwealth Parliament (as Liberal Member for Flinders) from 1906 to 1918. He was considered a potential Prime Minister, but his abrupt manner and hard-line conservatism (particularly his attitude to a railway strike) made him unacceptable even to many Liberals: he was known in Parliament as "Iceberg Irvine". He lived at Richmond, but in 1908 purchased land in Laughing Waters Road at Eltham, where he built the house ‘Killeavey’, initially as a weekend retreat. The site, a peninsula surrounded on three sides by the Yarra River, is of geological importance and has considerable cultural significance to the Wurundjeri. In 1912 Sir William moved to Killeavey and in 1913 purchased more land, extending his property to Reynolds Road. In 1923 he shifted to Toorak, donating Killeavey to his daughter Beatrice as a wedding gift. Sir William was a founding member of the RACV and was Acting Governor of Victoria from 1931 to 1934. He was also a notable public figure involved in several local events including the: 1919 Unveiling of Eltham War Obelisk 1921 Eltham Primary School Extensions 1921 Eltham Primary School Roll of Honour of prior students 1928 Opening of Eltham Higher Elementary School 1926 Unveiling the Shire of Eltham War Memorial in Memorial Park at Kangaroo Ground He died in 1943 and is buried in Eltham Cemetery with his wife Agnes along with son William Mitchell Irvine and his wife, Dora Haswell Sacred to the memory of William Hill Irvine G.C.M.G. Lieutenant Governor And Chief Justice of Victoria Born 6th July 1858 At Newry, Northern Ireland Died 20th August 1943 Also his wife Agnes Somerville Born at Ballarat 16th Nov 1867 Died at Eltham 16th Aug 1954 W. M. W. Irvine 1901-1975 And Dora Haswell Wife of W. M. W. Irvine 1900-1979eltham cemetery, gravestones, memorials, agnes sommerville irvine (nee wanliss), dora haswell irvine, william hill irvine, william mitchell irvine -
Eltham District Historical Society Inc
Photograph, Peter Pidgeon, Grave of William Hill and Agnes Somerville Irvine and family, Eltham Cemetery, Victoria, 5 April 2021
William Hill Irvine was born 6 July, 1858 in Newry, County Down, Ireland. He arrived in Melbourne December 1879 and taught at Geelong College. He was admitted to the Supreme Court in 1884 having qualified from Melbourne University and practiced in Melbourne. In 1891 he married Agnes Somerville Wanliss and they had one son, William Mitchell (1901 Armadale) and two daughters, Beatrice Wanliss (1899 Armadale) and Agnes Somerville Wanliss (1903 Armadale). Sir William Irvine sat in the Victorian Parliament (as Liberal Member for Lowan) from 1894 to 1906 and was Premier of Victoria from 1902 to 1904. He then switched to Federal politics and sat in the Commonwealth Parliament (as Liberal Member for Flinders) from 1906 to 1918. He was considered a potential Prime Minister, but his abrupt manner and hard-line conservatism (particularly his attitude to a railway strike) made him unacceptable even to many Liberals: he was known in Parliament as "Iceberg Irvine". He lived at Richmond, but in 1908 purchased land in Laughing Waters Road at Eltham, where he built the house ‘Killeavey’, initially as a weekend retreat. The site, a peninsula surrounded on three sides by the Yarra River, is of geological importance and has considerable cultural significance to the Wurundjeri. In 1912 Sir William moved to Killeavey and in 1913 purchased more land, extending his property to Reynolds Road. In 1923 he shifted to Toorak, donating Killeavey to his daughter Beatrice as a wedding gift. Sir William was a founding member of the RACV and was Acting Governor of Victoria from 1931 to 1934. He was also a notable public figure involved in several local events including the: 1919 Unveiling of Eltham War Obelisk 1921 Eltham Primary School Extensions 1921 Eltham Primary School Roll of Honour of prior students 1928 Opening of Eltham Higher Elementary School 1926 Unveiling the Shire of Eltham War Memorial in Memorial Park at Kangaroo Ground He died in 1943 and is buried in Eltham Cemetery with his wife Agnes along with son William Mitchell Irvine and his wife, Dora Haswell Sacred to the memory of William Hill Irvine G.C.M.G. Lieutenant Governor And Chief Justice of Victoria Born 6th July 1858 At Newry, Northern Ireland Died 20th August 1943 Also his wife Agnes Somerville Born at Ballarat 16th Nov 1867 Died at Eltham 16th Aug 1954 W. M. W. Irvine 1901-1975 And Dora Haswell Wife of W. M. W. Irvine 1900-1979Born Digitaleltham cemetery, gravestones, agnes sommerville irvine (nee wanliss), dora haswell irvine, william hill irvine, william mitchell irvine -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Alan King, Graves of Thomas Sweeney and family, Eltham Cemetery, Victoria, 27 January 2008
The grave of Thomas Sweeney, former convict turned respectable citizen. The Murray and Sweeney families were both early settlers of the Eltham district and connected by marriage. Their family plots are located side by side in the Catholic section of the Eltham Cemetery. Irish-born Thomas Sweeney is regarded as the first settler in Eltham. He was transported to Sydney in 1823 after being convicted of arson. He was granted his freedom in 1838 and married Margaret Meehan in the same year. They moved to Melbourne and in 1842 Thomas purchased 110 acres beside the Yarra River in the vicinity of present-day Sweeneys Lane. He called the property ‘Culla Hill’ and built a small slab hut (reputedly with Wurundjeri help; Margaret is said to have run an informal hospital for them in return). This was followed in 1846 by more substantial buildings consisting of a three-roomed Irish-style ‘longhouse’ and a barn made of stone and handmade bricks, with doors large enough to accommodate a fully loaded wagon. When the gold rush came, Thomas prospered by selling meat and potatoes to the prospectors, enabling him to purchase a further 308 acres in 1856. He promoted the construction of a bridge over the Plenty River and the establishment of a school at Eltham. Roman Catholic Church services were held at Culla Hill in the early years. When he died in 1867, he was regarded as a respected member of the community. Thomas and Margaret are buried in Eltham Cemetery with many of their descendants. Their first son John continued to farm Culla Hill until his death in 1909. Culla Hill passed out of the Sweeneys' possession in 1939. The house and barn remain today, though lesser outbuildings have gone. The facade of the house is much the same as it was in the 1840s. Sacred To the memory of Thomas Sweeney Who died Sep 6th 1867 Aged 65 years May his soul res in peace Also his wife Margaret Died Oct 3rd 1884 aged 73 years And their daughters Annie Died Aug 22nd 1860 aged 21 years Johanna Died Aug 19th 1872 aged 22 years Margaret Died 7th Sep 1913 aged 72 years R.I.P. Also In Memory Of John Sweeney Died 24th May 1909 Aged 65 years Also of his wife Ellen Died 8th March 1910 Aged 64 years R.I.P Also In Memory Of Caroline Infant daughter of John & Ellen Sweeney Published: Nillumbik Now and Then / Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p55This 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, annie sweeney, caroline sweeney, ellen sweeney, eltham cemetery, graves, gravestones, johanna sweeney, john murray, john sweeney, margaret sweeney, mary ellen drain, mary murray, thomas murray, thomas sweeney -
Melton City Libraries
Newspaper, Get the good oil here…, 2001
"A court was established in Melton by 1864, when the first recorded case was heard before Mr BA Porter JP, with Mr A Carroll as the Clerk of Courts. John James was convicted of being drunk, for which he was fined five shillings or 24 hours imprisonment. The court was held in the ‘long room’ of the old Melton Hotel, before moving to rented accommodation at the Raglan Hotel, and finally to the Roads Board office. Tenders for construction of the present building were called for by the Public Works Department on 13th February 1892. The architect Samuel Edward Brindley was born in Birmingham, England, in 1842. He was articled to the local architect, J.R. Botham, FRIBA, before emigrating to Victoria where he was employed as an architect in the Education Department from 18 August 1873. With the amalgamation of the architectural branch of the Education Department with the Public Works Department in 1884, Bindley was placed in charge of Victorian government building design for the North-Western District. In 1975, the Melton and District Historical Society became concerned at hearsay that the court house was to be demolished to make way for carparking space. Melton had been declared a ‘satellite city’ and was developing rapidly. A new shopping centre had recently been built at a setback of 60 feet (c.18 metre) from 323-329 High Street, and the court house, together with the adjacent weatherboard police station, had been left standing alone. A new police station was planned, and the weatherboard police station was subsequently demolished. In its nomination of the building for National Trust classification the Society argued that the Court House was ‘the best of two early buildings left in the main street’ (the other being a bluestone hotel) and that its loss would be ‘tragic’. However the nomination was unsuccessful, the National Trust at the time judging that it was of no particular ‘distinction’ or ‘antiquity’. The building continued to be used as a court house at least until 1991 when the Department of Housing and Construction (formerly the PWD) conducted a heritage study of court houses. By this time Federation-era architecture had achieved acceptance within the heritage movement. The building was recognised as being ‘the only surviving example in brick of the Federation Queen Anne style which was used for court houses only twice.’ Twenty years later when it was proposed to modify the eastern façade of the building to accommodate a café, the M&DHS was again concerned. This time the National Trust objected that the proposed extension would be an over-development of the site, and questioned the changes to the interior court room furnishings and fittings. The site never appears to have been nominated to the Victorian Heritage Register. It has since been converted into the Shire of Melton Tourist Information Centre". Opening of the Visitor Centre in Meltoncouncil, local architecture -
Federation University Historical Collection
Photograph - Little Gem tintype, Portrait of a Woman in a Hat
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography -
Federation University Historical Collection
Photograph - Little Gem tintype, Portrait of a Woman in a hat
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography -
Federation University Historical Collection
Photograph - Little Gem tintype, American Studio, Portrait of a Woman, (exact)
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph -
Federation University Historical Collection
Photograph - Tintype, Portrait of two young girls
The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .2) A tintype portrait of two girls heads, attached to a card. The girls are wearing a cloak with a large bow at the frontlittle gem, women, children, photography, tintype -
Flagstaff Hill Maritime Museum and Village
Functional object - Vent Cover, circa 1886
The vent cover comes from the Falls of Halladale, a four-masted iron-hulled barque built in 1886 for the long-distance bulk carrier trade. The vessel was built for the Falls Line (Wright, Breakenridge & Co., Glasgow, Scotland) at the shipyard of Russell & Co., Greenock on the River Clyde, she was named after a waterfall on the Halladale River in the Caithness district of Scotland. The ship's design was advanced for her time, incorporating features that improved crew safety and efficiency such as elevated bridges to allow the crew to move between forward and aft in relative safety during heavy seas. The Falls of Halladale was the seventh vessel in a series of eight similar iron-hulled sailing ships, all built by Russell & Co and all named after waterfalls in Scotland. The Falls of Halladale was preceded by the Falls of Clyde (1878), the Falls of Bruar (1879), the Falls of Dee (1882), the Falls of Afton (1882), the Falls of Foyers (1883) and the Falls of Earn (1884). The Falls of Halladale was followed by a sister ship, the Falls of Garry (1886). The Falls of Clyde is afloat today and is a major attraction at the Hawaii Maritime Center in Honolulu. The Falls of Halladale is best known for her spectacular demise in a shipwreck near Peterborough, Victoria on the shipwreck coast of Victoria, Australia. On the night of 14 November 1908, she was sailed in dense fog directly onto the rocks due to a navigational error. The crew of 29 abandoned ship safely and all made it ashore by boat, leaving the ship foundering with her sails set. For weeks after the wreck, large crowds gathered to view the ship as she gradually broke up and then sank in the shallow water. Soon after the accident the ship's master, Capt. David Wood Thomson was brought before a Court of Marine Inquiry in Melbourne and found guilty of a gross act of misconduct, having carelessly navigated the ship, having neglected to take proper soundings, and having failed to place the ship on a port tack before it became too late to avoid the shipwreck. Capt. Thomson's punishment included a small fine and he had his Certificate of Competency as a Master suspended for six months. Today the Falls of Halladale is a popular destination for recreational divers. The wreck is easily accessible by scuba divers about 300 m offshore in 3 to 15 m of water. The hull lies on its collapsed starboard side. Some of the original cargo of 56,763 roof slates remains at the wreck's site along with corroded masses of what used to be coils of barbed wire. Twenty-two thousand slates were salvaged in the 1980s and used to provide roofing at the Flagstaff Hill Maritime Village in Warrnambool. An anchor that was recovered in 1974 is on display in the village. The pulley sheave is significant as a salvaged item from the Victorian heritage-listed Falls of Halladale wreck. As an artifact from the wrecked ship, it helps us to remember today the story of the wrecking and is an important reminder of a marine incident in Victoria's maritime history. Vent cover taken from the top of an iron Bollard. Recovered from the wreck of the Falls of Halladale. noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, vent cover, falls of halladale, russell & co. -
Flagstaff Hill Maritime Museum and Village
Instrument - Clock, 1900's
In August 1884, Alfred Hirst who had started his trade as a watch repairer and was described as a watchmaker extraordinaire established Hirst Brothers and Company, on Union Street in Oldham Manchester. He took his two stepbrothers into the business and the company was set up to produce timepieces and jewellery as well as importing “Limit company” Swiss watches and precision machine tools for the watch and clock trade. By 1902 Hirst Brothers. had become a limited company and was still growing, adding other businesses in Manchester in 1904 and at Birmingham in 1907. The quality of the clocks and watches was such that Alfred Hirst realised his greatest ambition in 1912 with a range of watches which carried the "Limit" trademark. These watch movements had originally been made in Switzerland and shipped to Hirst Bros. to be put into British made “Dennison” cases. This trade brought even more growth with additional sales offices opening in London and Glasgow. At the outbreak of the First World War in 1914 found them manufacturing aircraft parts including revolution counters and optical instruments. The firm had been tasked by the Ministry of Munitions to solve the problem of pilots dropping bombs by hand and as a result, they effectively created the first bomb rack. After the war, the company once again began to prosper and with the demand for their products increasing they looked to build a new purpose-built factory to manufacture their products. In 1917 they purchased a seven-acre field site at Tame Side Dobcross, the designing of the new factory was passed onto local architect AJ Howcroft. His brief for the design of the clockworks would have been prompted by Alfred Hirst who having visited modern factories in the United States was inspired by the latest factory designs providing as much daylight as possible during working hours. The factory was eventually completed in 1920, by the mid-1920s there were cheap clock imports from Germany and production turned to radio sets and other components as well as counter and gas meters for the "Parkinson and Cowan" company who was later to take over the business. In 1926 came the cotton crash and the District Bank who had loans with the company foreclosed on the Hirst loan. The company did survive and throughout the second World, War II were involved in munitions work at the factory as well as making instruments for various aircraft. In the 1950’s they were producing meters and high grade measuring equipment but by the 1970's the business had closed and the factory was demolished in the mid-1980 "s The item is a good example of the later use of an early mechanism “Fusee” that was originally invented around 1525 in Prague. This type of clock mechanism was replaced as watchmakers looked for mechanisms that could reduce the size of clocks and watches, it appears England was the only country to continue making clocks with a Fusee device until around 1900,s of which our clock is an example. The use of a Fusee movement eventually became obsolete in 1970,s. The item is significant for the collection as it is a clock with a movement that has long since been made obsolete. Fusee type gallery wall clock made by Tame Side with an 8-day mechanical fusee movement. The white enamel dial is a little crazed and some of the Roman Numeral numbers are fading due to over-cleaning. The movement has a hexagonal iron pendulum bob hooking onto a pendulum rod with a spring-wound anchor escapement.Only mark is stamped on the movement believed to be a production number "13490" and made in Tame Side. (If the clock had been made after 1912 it would have had a trade mark "Limit")flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, clock, wall clock, fusee, gallery clock, alfred hirst, tame side -
Coal Creek Community Park & Museum
Specimen Banknotes Display
8727.1 - Wooden frame, Dark stain with plastic inner frame where it is painted with a metallic looking silver. 8727.2 - Specimen banknote information sheet. 8727.3 - Fifty pound note (specimen). 8727.4 - One hundred pound note (specimen). 8727.5 - Ten pound note (specimen). 8727.6 - One pound note (specimen).8727.2 - National Australia Bank - Heritage Collection - Specimen Banknotes - Specimens of the National Bank of Australia Limited banknotes in circulation in 1910. Nineteenth century banknote designs were inspired by ancient Greek myths, with images of classical figures symbolising agriculture and trade. Intricate line patterns and borders were also featured to discourage forgers. Although local printers produced the National's early notes, highly skilled security printers, Bradbury Wilkinson and Co. of London, producers of banknotes for many Australian and European banks were engaged by the National to design and produce most of its banknotes. - © National Australia Bank Limited. 8727.3 - 50 - ADELAID - SOUTH AUSTRALIA - Pounds - FIFTY - On demand I promise to pay the bearer FIFTY POUNDS sterling at ADELAID 1st November 1893 - For National Bank Australia - SPECIMEN - ENTd - Manager 8727.4 - 100 - THE NATIONAL BANKOF AUSTRALIA - NEW SOUTH WALES - ONE HUNDRED - On demand I promise to pay the bearer ONE HUNDRED POUNDS sterling at SYDENY 1st January 1887 - For THE NATIONAL BANK OF AUSTRALIA - Manager - SPECIMEN - ENTd 8727.5 - MELBOURNE - 10 - POUNDS - THE NATIONAL BANK OF AUSTRALIA - LIMITED - SPECIMEN - On demand I promise to pay the bearer TEN POUNDS sterling at MELBOURNE - For NATIONAL BANK OF AUSTRALIA LIMITED - Manager - ENTd - VICTORIA 8727.6 - PERTH - WESTERN AUSTRALIA - 1 - THE NATIONAL BANK OF AUSTRALIA LIMITED - On demand I promise to pay the bearer ONE POUND sterling at PERTH - For NATIONAL BANK OF AUSTRALIA LIMITED - Manager - ENTd - SPECIMEN -
Federation University Historical Collection
Photograph - Photograph (Black & White), Victa Studios, Presentation to Professor Alfred Mica Smith of the Ballarat School of Mines at Craig's Royal Hotel, c1924
This photo is thought to have been taken at the time of Alfred Mica Smith's retirement from the Ballarat School of Mines. It is most probably also the unveiling of the Max Meldrum portrait of Smith. Alfred Mica Smith retired from the Ballarat School of Mines in 1922 after an association of 41 years and aged 78 years. At the August meeting of the Ballarat School of Mines Council in 1881 it was resolved that 'Alfred Mica Smith Esq., B.Sc., be appointed Professor in Chemistry and Metallurgy and be Superintendent of the Laboratories, for the period of twelve months at a stipend of five hundred pounds per annum, and to commence duty as soon as possible'. (signed: James Oddie, Vice-President) Smith played a major role in the years of 1887-1893 when SMB was affiliated with Melbourne University. In 1912 he became Professor of Metallurgy and received an annual salary of 250 pounds. Alfred Mica Smith presented many scholarly papers, gave evidence at government enquiries into the safety of mines and became an authority on mine safety and ventilation. He was on the Mines Ventilation Board. Professor Smith was the public analyst for the City of Ballarat and Town of Ballarat East, as well as to a number of other boroughs and shires. He was also Chief juror to the Adelaide International Exhibition, chemical section. He provided information to the Royal Commission on gold mining (1889, 1891), and was President to the chemistry section of Australian Association for the Advancement of Science, Associate of American and Australasian Institute of Mining Engineering, Member of the Science Faculty Melbourne University, and Hon. Life Member of the Miner Managers' Association of Australia. He also was involved in many educational and community affairs such as President of the SMB Students' Association, President of the Ballarat Science Society, first President of the Ballarat Camera Club, Vice President of the Field Naturalists' Club, and he presented Ballaarat Fine Art Gallery with his collection of paintings and porcelain ware. His legacies include the mutual regard between him and his students, the many tributes by former students, the Mica Smith scholarship (established in 1923) and now known as the Corbould-Mica Smith Travelling Scholarship, his portrait in oils by noted artist Max Meldrum, and the marble bust of Smith sculptured by Paul Montford. Money for a scholarship in sanitary science at the University of Manchester in the name of his uncle R. A. Smith was left being set up in 1928. Smith died of cancer on 14 May 1926 and his remains, cremated at Springvale, were interred in the Ballaarat New Cemetery. See http://guerin.ballarat.edu.au/curator/honour-roll/honourroll_Smith,%20Alfred%20Mica.shtml Black and white mounted photograph showing a number of men sitting around two dining tables at Craig's Royal Hotel in Ballarat. Professor Alfred Mica Smith of the Ballarat School of Mines is standing 15 from the left, and is the subject of the painting on an easel to the left. The painting was presented to the Ballarat Fine Art GalleryLower right of mount 'Victa Studios Ballarat' Verso (typed and glued on): Presentation to professor Mica Smith, Craig's Hotelballarat school of mines, craig's hotel, craig's royal hotel, alfred mica smith, art gallery of ballarat, ballarat fine art gallery, portrait, frederick martell, daniel walker -
Kew Historical Society Inc
Plaque, Kew Presbyterian Church, James Maitland Campbell LL.M, 1931
Extracts from The Church on the Hill: Presbyterianism in Kew 1874-1974 by John A. O’Neill (Mullaya, Canterbury (Vic), 1974, pp.58-60. “An outstanding family which gave devoted service to the Church was the Campbell family of which James Maitland was the “head”. He died at “Ramornie” on the afternoon of Monday 15 December 1930. … “James Maitland Campbell was born in 1847 in Melrose, Scotland, where his father, the Rev. A. J. Campbell D.D., was the Minister of the Kirk. The Rev. Dr. and Mrs. A. J. Campbell, with their family, came to Australia in 1861 and settled in St. George’s Church, Geelong, where he was the first Minister. James Maitland, after completing his secondary education at Geelong College, entered the Melbourne University where he graduated Master of Arts and Master of Laws, and eventually became a partner in the legal firm of Davies and Campbell. When he first came to Melbourne Mr Campbell attended Chalmers Church, East Melbourne, and married Miss Annie Harper, daughter of Robert Harper, a merchant and a sister of Professor Andrew Harper. In March 1875 the young couple settled in Pakington Street, Kew. After the induction of the Rev. Maxwell and the formation of a Board of Management, Mr. Campbell was elected its first Secretary. David Beath, James Maitland Campbell and Duncan Robert McGregor were the first Trustees of our Church. Mr. and Mrs. Campbell joined the Church Choir, and Mr. Campbell became Choir Leader. Members of their family, Bessie, Mary, Nellie and Lewis also sang in the Choir. Mary became a famed teacher of singing in Melbourne. She taught singing to members of the Choir, and gave lessons in voice production to students for the Ministry. In 1879 Mr. Campbell became Superintendent of the Sabbath School, a position he occupied for 27 years. In 1887 he was elected an Elder, and the Session Clerk for 37 years. In 1924 Mr. Campbell compiled a very complete Jubilee History of the Kew Presbyterian Church. Mr. J. M. Campbell saw our existing Church and the Old Manse erected, the Villa purchased, and, with the help of the Kew Congregation, the Charges of West Hawthorn, East Kew and Deepdene established. In the General Assembly of Australia and the General Assembly of Victoria he occupied the important position of Law Agent, and was a member of numerous Church Committees and Councils. … At the Annual Congregational Meeting on Wednesday 28 October 1931, it was decided to erect a tablet in the Church to the memory of the late Mr. J. M. Campbell to record his service to the Church. The tablet was unveiled at the morning service on 13 December by Mr. Legge. The Preacher was Rev. J. Barnaby.”James Maitland Campbell (1847-1930) the owner of “Ramornie” in Pakington Street was an important contributor to the community of Kew in the 19th and early 20th centuries. A Councillor of the Borough of Kew, he was to be elected Mayor on three occasions: 1889-90, 1890-91 and 1892-93. In addition to his political roles, he was the first Secretary of the Kew Presbyterian Church, being actively involved in the life of the Church until his death in 1930. The Kew Historical Society has a small collection of items once belonging to the Campbell family, including a series of invitations issued to Mr. and Mrs. J. M. Campbell for the festivities organised to commemorate the opening of the first Australian Parliament in Melbourne in 1901. Memorial Tablet to James Maitland Campbell (1847-1930) that was originally erected in the Kew Presbyterian Church in Cotham Road. The tablet is comprised of iridescent ceramic tiles.“Erected by the congregation to the Memory of James Maitland Campbell. LL.M. died 15th., December 1930. Session Clerk of this church for 36 years. “A Christian gentleman.”james maitland campbell (1847-1930), kew presbyterian church, ramornie (pakington street), campbell collection -
Coal Creek Community Park & Museum
Bottle, glass, W. A. Stokes, Chemist
TROVE : Jewish Herald (Vic. : 1879 - 1920) Friday 14 March 1913 p 10 Advertising. Mr. Frank Newman desires to intimate that he has purchased the old-established business of the late MR. W. A. STOKES, recently carried on by Mr. P. J. Winch, and hopes by giving; his personal attention to the Pharmacy to merit your support. 181 CARLISLE ST.. BALACLAVA. Tel. Windsor 30. TROVE : The Age (Melbourne, Vic. : 1854 - 1954) Tuesday 13 December 1887 p 5 Article " ROUGH ON RATS" POISON.' . PROSECUTION UNDER THE POISONS ACT. At the St. Kilda police court, on Friday, W, A. Stokes, chemist, Carlisle-street, Balaclava, was prosecuted under the Poisons Statute on the charge of selling to one Mrs. Hannah Charlton a poison without having made and signed the entry required by the act. A second charge of selling to Mrs, Hannah Charlton a poison without having obtained the signature of the purchaser to an entry as required by the act was also preferred against the defendant. Both cases were taken together. Mr, Donovan appeared to prosecute, and Mr. Cole for the defence. Senior-constable Connell deposed that he knew the defendant. On the 24th of October last an inquest was held at East St. Kilda relative to the cause of the death of a man named Charlton. A packet bearing the label " Rough on Rats," which was found. in the deceased's bedroom, was produced at the inqiry, and afterwards handed over to Mr. Blackett, Government analytical chemist for analysis. The verdict of the jury was that the deceased died from the effects of arsenical poisoning. Hannah Charlton, a widow, residing in South Yarra, said in September last she purchased a packet of "Rough on Rats" from the defendant's assistant. Witness was not asked her name, place of abode, occupation or for what purpose the poison was required; neither did she observe the assistant make any entry in a book, She did not attach her signature to any document, and was not asked to do so. The packet was purchased for the purpose of poisoning rats. Cuthbert Robert Blackett, Government analytical chemist, stated that Constable Ballantyne handed him the packet produced. Witness made an analysis of the contents, and found it composed of arsenic, slightly coloured with a carbonaceous matter. The mayor announced that there was a doubt in the minds of the magistrates as to whether the defendant could be held guilty under the law, but they thought the prosecution had attained its object by making known the fact that "Rough on Rats" is a poison. They thought that such preparations should be entered by the sellers, but in that case they were inclined to give the defendant the benefit of the doubt and dismiss the case.Rectangular clear light green tinted glass bottle with embossed text and numerals on side and base.'W. A. STOKES CHEMIST EAST ST.KILDA' on side. 'K6232' on base.chemist, poison, arsenic -
Melton City Libraries
Newspaper, Special Melton People, 1971
"Hannah ‘Grannie’ Wattsis one of Melton’s mostcelebrated and cherished pioneers. Born in Ireland in 1831, Hannah immigrated to Australia with her husband George Byrns in 1854. Moving to Melton, they built a wattle and daub hut home where they lived with their four children until George was tragically killed in 1860. Unusually for the time, Hannah purchased land in her own name in the Melton township in 1863. Later that same year she married William Watts and together they moved to Toolern Vale and built a bluestone and mud brick home. It is believed that while travelling to Australia, Hannah assisted the ship surgeon and demonstrated a natural aptitude for the tasks assigned to her. When she was living in Melton she assisted other women in an unofficial capacity as neighbourhood midwife, while also working on her farm and raising her six children. By 1887, however, her reputation as a midwife had grown to such an extent that she was able to establish her own practice. William Watts died in 1874, but Hannah remained in Toolern Vale for the next twenty years. In 1894, she moved into the Melton township and built Lynch Cottage on the corner of Yuille and Sherwin streets, near Toolern Vale Creek. There she assisted in the births of hundreds of Melton residents, as well as the laying out of the deceased. Meticulous in her record keeping, Hannah Watts recorded the details of a total of 442 births between the years 1886 and 1921. Lynch Cottage was officially registered as a private hospital in 1911 and Hannah was listed in the Victorian Register of Midwives in 1917. Hannah Watts died on 21 October 1921, a few months after she assisted with the delivery of her final baby, Thomas Watts Minns. She was 90 years old. Hannah was buried in Melton Cemetery and mourned by the Melton community. Her obituary in the Gisborne Gazette is a testament to how beloved she was by the people she served: ... while in the absence of medical aid residents looked to Grannie as their doctor, philosopher and friend. Hundreds, in fact we might say thousands of people held the deceased in veneration ... A woman of great energy and determination combined with superior intelligence, Grannie conquered difficulties that would have made many falter... Today Grannie Watts is remembered by her descendants and by many locals in the City of Melton. Created in 1985, Hannah Watts Park honours Grannie Watts’ pioneering work for the health and wellbeing of hundreds of Meltonians. Not only is the park a fitting tribute to the memory of an outstanding citizen, it also continues to provide today’s residents and visitors with a space to walk, relax, gather and celebrate in Melton" .Tom Minns holding Debra Wain, first hospital baby to be born In Melton since 1921. Article featured in the Herald. Mother Rhonda Wain is featured in the photo too. local identities, local significant events -
Flagstaff Hill Maritime Museum and Village
Equipment - Distant Signal, 1897-1931
This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Ball, part of a Flagstaff signal set. A round woven cane ball, painted black, with a metal rod passing through the centre. The rod has a loop at each end, then a concave, octagonal metal plate that rests on the outside surface of the ball, serving as a washer. The rod has swivels at each end.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, distant signal, signal, maritime signal, ball signal, signal shape, flagstaff signal, signal station, masthead signal, communications, marine technology, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, day shape, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897 -
Flagstaff Hill Maritime Museum and Village
Equipment - Distant Signal, 1897-1931
This three-dimensional Distant Signal is part of a Flagstaff Signal set of ball, cone and drum shapes. It has been woven and then fabricated with strong metal swivel fittings and loops for suspending from a high point on a flagstaff at a signal station or on a ship’s masthead. The cane signal was constructed to withstand all weather and to be visible from a long distance. The gaps between the woven cane allow air to pass through, minimising possible swaying. Similar sets were made from rope or fabric. Warrnambool's Flagstaff was erected in 1854. Its primary use was to display visual signals that could convey messages between land and sea. It was also used to notify the local population of the approach of ships. One of the popular signalling codes in use in the early-to-mid 1800s was the Marryat’s Code but there were others in use as well; there was no one standard code. In 1857 the International Marine Conference adopted an International Code of Signals as a standard communications system for all vessels that could be understood in many different languages. The Normanby Advertiser reported on June 5th 1857 a query from the Post Master General as to whether the request of the Chief Harbour Master would be carried out, in that Warrnambool would receive a new flagstaff and a set of Marryatt’s signal flags. The Table of Codes was published, showing how to use combinations of these flags to send messages. The Code was revised in 1887 to cover situations where distance, light, wind and weather conditions affected the visibility of the flags and prevented clear communication. The first report of the International Code of Signals Committee of 1897 warned signalmen not to rely on ordinary semaphore flags and introduced a Distant Signal Code using either particular semaphore flags or the three-dimensional shapes of a ball, cone and drum that aligned with the semaphore flag shapes of a circle, pennant and square. International Code of Signals In 1931, after World War I’s experiences in using signal codes, the International Code of Signals conference in Washington revised and published the rules for the conduct of signalling. One of the changes was that “the use of the Distant Signals and of fixed semaphore was abandoned”. It is of interest to know that modern marine law in many countries insists that a set of Day Shapes must be carried onboard vessels of a certain size. These highly visible geometric shapes are used at sea in daylight to communicate messages between vessels. They are used in a similar way to the Distant Signals, in that different combinations of shapes represent different messages. The set of shapes includes a ball, cylinder, cone and diamond. The shapes are hung between the top of the vessel’s foremast and the front of the vessel. They are only coloured black and are about 1.5 metres high. The vertical line of shapes can mean messages such as Boat not under command, Fishing, and Under sail and power.Distant Signals were an important means of marine communication from the late 1880s to the early 1930s, including during World War I. They were an advancement to the International Shipping Codes and safety. The cane signals’ shapes appear to be the same from whatever direction they are viewed, removing confusion about the message they convey. The same shapes continue to be used today for the sets of Day Shapes used as marine navigational signals that are mandatory on certain-sized vessels.Distant Signal Cone, part of a Flagstaff signal set. A woven cane cone, painted black, with a metal rod passing through the centre and two crossed metal bars at the base. The central rod has a loop at the top and passes through the bars at the base, finishing in a metal loop. The rod has swivels at each end.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, marine navigation, marine communications, communication signal, lifesaving, ship at sea, day shape, masthead signal, day signal, day mark signals, marine technology, safety equipment, navigation equipment, marine day shape, day marker, cane day shape, signal cone, day signal cone, cone signal, cone day shape, distant signal, flagstaff signal, signal station, communications, signals, marine signals, flaghoists, international marine conference, international code of signals, signal codes, marine safety, signal flags, daymark, day symbol, navigation, warrnambool flagstaff, 1854, 1857 1931, 1887, 1897