In the 1800s, the stereoscope was the only way to view with world in 3-D. A viewer would look through the lenses of the stereoscope's eyepiece to a card called a stereograph. On the stereograph, two of the same image were printed side by side, which when viewed through the stereograph transformed the one dimensional images into relatively life-like representations. A popular form of entertainment among the middle classes in Europe and America, people could use a stereoscope to view images of real faraway places, or fantastical magic scenes. The first patented stereo viewer was invented by Sir Charles Wheatstone in 1838, and remained a favoured leisure activity until the advent of cinema in the 1930s. This object contributes to our understanding of social life, leisure and entertainment in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.A wooden stereoscope with a cardboard 'view' of a streetscape.stereoscope, stereographs, entertainment, fun, leisure

In the 1800s, the stereoscope was the only way to view with world in 3-D. A viewer would look through the lenses of the stereoscope's eyepiece to a card called a stereograph. On the stereograph, two of the same image were printed side by side, which when viewed through the stereograph transformed the one dimensional images into relatively life-like representations. A popular form of entertainment among the middle classes in Europe and America, people could use a stereoscope to view images of real faraway places, or fantastical magic scenes. The first patented stereo viewer was invented by Sir Charles Wheatstone in 1838, and remained a favoured leisure activity until the advent of cinema in the 1930s. This object contributes to our understanding of social life, leisure and entertainment in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.A wooden stereoscope with a cardboard 'view' of a streetscape.stereoscope, stereographs, entertainment, fun, leisure

In the 1800s, the stereoscope was the only way to view with world in 3-D. A viewer would look through the lenses of the stereoscope's eyepiece to a card called a stereograph. On the stereograph, two of the same image were printed side by side, which when viewed through the stereograph transformed the one dimensional images into relatively life-like representations. A popular form of entertainment among the middle classes in Europe and America, people could use a stereoscope to view images of real faraway places, or fantastical magic scenes. The first patented stereo viewer was invented by Sir Charles Wheatstone in 1838, and remained a favoured leisure activity until the advent of cinema in the 1930s. This object contributes to our understanding of social life, leisure and entertainment in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history. A cardboard box full of stereoscope cards showing street views and landscape scenery. stereoscope, stereographs, entertainment, fun, leisure

A photo of widows at trading tables in the Clubrooms at Legacy House. It is one of the annual fetes usually held in November. Items for sale included home made food items like relish and jams, and craft items. Legacy House held craft lessons throughout the year and often the items made were sold at the fetes or at a stall outside Legacy House during Legacy Week for fundraising. The lady in red is Billie Sims who has been President of the Widows Club. It is likely to be 1988 due to the photographers reference number meaning 17 November 1988 (ref no. 881117). These regular meetings, fetes and workshops provided important opportunities for widows to meet, socialise and be active.A record of the type of activities Legacy provided for fundraising and as a social outlet for the widows.Colour photo x 2 of widows at Legacy House selling items at trading tables.Stamped on the back with Copyright of the Keesing Photographic Pty Ltd. And hand written reference numbers 881117-5 and 881117-15 in blue pen.widows, activities, fete, widows function

A cake decorated to look like the Shrine of Remembrance. The event is the annual Fete in 1993. The cake was entered into the Melbourne Show and shows a lot of skill. It was used as a raffle prize at the 1993 fete held at Legacy House (see the article from The Answer). The article says: The 31st annual Club Fete was held at Legacy House and a highlight of the event was a raffle to win a spectacular cake depicting the Shrine of Remembrance. The cake, made by Mrs Audrey McMaster (friend of a former Junior Legatee) was a 1993 prize-winning cake at the Royal Melbourne Show. Mrs McMaster kindly donated the cake to Legacy and nearly $200 was raised from the raffle (won by Mrs Mary Thompson of Reservoir).Part of the annual fete organised by the Legacy Widows' Clubs for fundraising.Colour photo x 2 of a cake decorated to resemble the Shrine of Remembrance.Printed on back "NOV93". 00673.1 has P6 No 3 in pencil and E in blue pen.fundraising, answer, widows, cake

After the 1939 bushfires, the Forests Commission invested heavily in a radically new communications network. After suffering some inevitable delays due to the War, radio VL3AA switched into full operation in October 1945 proudly beaming out 200 watts across the State. The communication systems were regarded at the time to be more technically advanced than the police and the military. These pioneering efforts were directed by Geoff Weste, and later technical experts like Rex Philpot, John Whitehead, Charlie Reisinger and many others who designed, built and repaired most of the radio equipment. There was a dedicated radio laboratory at Surrey Hills in Melbourne. The purpose and operation of this particular instrument is unknown.FCV testing meterMade in the radio laboratory of the Forests Commission Victoriaradio, forests commission victoria (fcv)

The Zeiss Sketchmaster was used to transfer information from aerial photographs onto scale maps. The operator views the aerial photograph and the map simultaneously and manually traces detail from the photograph onto the map. It utilises the principle of the camera lucida, patented in 1806. Various lens combinations were used on a to adjust for scale and then “rubber sheet” the image to line up topographic features like streams and roads. The photo information was then laboriously transferred using a light table onto large A0 paper maps or translucent drafting film. The maps were later hand coloured with either Derwent pencils or delicately painted with Pelikan ink wash. This item is kept at Erica.Zeiss Sketchmaster. c1970s. Includes adjustable stand, various lens in sperate box, adjustable light, map holder and magnetsforests commission victoria (fcv), forest measurement, mapping, surveying

Marseille My Dream Baby doll, 8-22" tall, bisque head, lightly painted hair, painted or sleep eyes, doll mold 351 has an open mouth with two upper teeth, cloth body with bisque or composition hands or composition jointed body, came as either a white doll or black doll. Doll face shown is a socket bisque head with sleep eyes on a composition jointed body. Armand Marseille of Sonneberg and Koppelsdorf, Thüringia, Germany was one of the worlds largest and best known bisque doll head manufacturers. The founder was born in 1856 in St. Petersburg, Russia the son of an architect and immigrated to Germany with his family after 1860. In 1884 he bought the toy factory of Mathias Lambert in Sonneberg and in 1885 acquired the porcelain factory of Liebermann & Wegescher in Koppelsdorf . . and his empire in the doll world began. Made 1924 - 1930 and later Bisque heads made by AM represented a new born infant. They came in white, brown and black versions. Mold 351 with open mouth and two lower teeth. The bodies were either cloth or composition AM doll. China haed, sleep eyes, painted lashes, two bottom teeth. Doll’s head has been repaired (badly) Composition body in good condition Embroidered lawn dress with pink embroidery. Appears to be original clothes Doll purchased from Harrods in London in 1926

This photograph was captured sometime between an estimated 1940s-1950s. It depicts the Beechworth Benevolent Asylum (later the Ovens and Murray Hospital for the Aged) which was built in 1862. It is located on an elevated site in Beechworth, Victoria because it was believed the height was beneficial to the health of the patients at the Benevolent. Later wings were added to the original building between 1867 and 1890. The building was constructed in an unusual Flemish Gothic Revival style which contrasts with the classical style of the Mayday Hills Hospital in close proximity to the Benevolent. The Hospital was designed in Italianate Revival architecture. The appearance of buildings like the Mayday Hills Hospital and the Ovens Benevolent Asylum are representative of the importance of Beechworth as a town shortly after the goldrush. During the 1850s and 1860s, administration buildings were erected alongside churches, shops and structures of justice. This marks a movement away from the "chaotic" structure of life on the goldfields and towards a more civilised and cultural lifestyle. This social phenomenon is also witnessed in Melbourne with the creation of buildings like the State Library and the University of Melbourne. The Beechworth Benevolent Asylum was renamed the Ovens Benevolent Home in 1935. The Asylum had been set up to provide accommodation and care for permanently injured gold miners, and for women and children who were penniless, homeless, or whose parents were guests of the state. In 1954 it was renamed as The Ovens and Murray Home (as pictured in this photograph). The purpose of this building was to provide a refuge for the poor and destitute, homeless older men, deserted women and children along with providing care for the mentally ill. These buildings were built at the government's expense and are of great historical and architectural significance.This photograph depicts the Ovens and Murray Home (previously the Ovens Benevolent Home) during the 1940s or 1950s. Since this building is of great historic and architectural significance, photographs like this are especially valuable in reconstructing the use history and any changes/additions to the building over a period of time. This building is important for what it can reveal about society in Beechworth and also architectural styles. This building is made in the Flemish Gothic Revival style which is quite unusual for the 1860s. It is important as an early example of a building constructed for a specific purpose, in the case of this particular building: caring for the aged/destitute. This building is important for research into the civic development of Beechworth as an early Gold Rush town located in Victoria's North-East. During this period, Beechworth was developing as the main center of administration in this region which made it a very influential and quickly developed town. Photographs like this one which depict a building during one period in history can reveal important information for the use and alterations of a building and for preferences in architectural style. It can also be studied for what it reveals about society in Beechworth and compared and contrasted to similar institutions across Australia and with additional photographs in the Burke Museum collection.Black and white rectangular photograph printed on gloss photographic paperObverse: OVENS & MURRAY HOME / Reverse: KODAK PAPER / 727 / J. Collins BMM 8689.1 /mayday hills, beechworth benevolent asylum, ovens benevolent home, asylum, refuge, poor and destitute, goldrush, flemish gothic revival, architecture

This photograph was captured sometime between an estimated 1940s-1950s. It depicts the Beechworth Benevolent Asylum (later the Ovens and Murray Hospital for the Aged) which was built in 1862. It is located on an elevated site in Beechworth, Victoria because it was believed the height was beneficial to the health of the patients at the Benevolent. Later wings were added to the original building between 1867 and 1890. The building was constructed in an unusual Flemish Gothic Revival style which contrasts with the classical style of the Mayday Hills Hospital in close proximity to the Benevolent. The Hospital was designed in Italianate Revival architecture. The appearance of buildings like the Mayday Hills Hospital and the Ovens Benevolent Asylum are representative of the importance of Beechworth as a town shortly after the goldrush. During the 1850s and 1860s, administration buildings were erected alongside churches, shops and structures of justice. This marks a movement away from the "chaotic" structure of life on the goldfields and towards a more civilised and cultural lifestyle. This social phenomenon is also witnessed in Melbourne with the creation of buildings like the State Library and the University of Melbourne. The Beechworth Benevolent Asylum was renamed the Ovens Benevolent Home in 1935. The Asylum had been set up to provide accommodation and care for permanently injured gold miners, and for women and children who were penniless, homeless, or whose parents were guests of the state. In 1954 it was renamed as The Ovens and Murray Home (as pictured in this photograph). The purpose of this building was to provide a refuge for the poor and destitute, homeless older men, deserted women and children along with providing care for the mentally ill. These buildings were built at the government's expense and are of great historical and architectural significance.This photograph depicts the Ovens and Murray Home (previously the Ovens Benevolent Home) during the 1940s or 1950s. Since this building is of great historic and architectural significance, photographs like this are especially valuable in reconstructing the use history and any changes/additions to the building over a period of time. This building is important for what it can reveal about society in Beechworth and also architectural styles. This building is made in the Flemish Gothic Revival style which is quite unusual for the 1860s. It is important as an early example of a building constructed for a specific purpose, in the case of this particular building: caring for the aged/destitute. This building is important for research into the civic development of Beechworth as an early Gold Rush town located in Victoria's North-East. During this period, Beechworth was developing as the main center of administration in this region which made it a very influential and quickly developed town. Photographs like this one which depict a building during one period in history can reveal important information for the use and alterations of a building and for preferences in architectural style. It can also be studied for what it reveals about society in Beechworth and compared and contrasted to similar institutions across Australia and with additional photographs in the Burke Museum collection.Black and white rectangular photograph printed on gloss photographic paperBack of photograph. Handwriting: "For John Beckingsale"mayday hills, beechworth benevolent asylum, ovens benevolent home, destitute, gold town, beechworth, victoria, north-east vic

The Reynolds/ Prior collection of photographs were snapped by Tom Prior, the Uncle of Ivy Reynolds (her mother's brother) around 1900 and the 60 photos in the album give a fine overview of many of the landmarks of Research and Eltham over 100 years ago. lvy is a much loved pioneer who lived in the family home for many years at 106 Thompson Cres Research. Many today living in our township will know Ivy and remember her sister Margaret. Ivy's father, Ernst Richard Reynolds and grandfather, Richard Reynolds, lived at the same address. Ivy's father Richard worked for Mr. Trail on his property in Research. Reynolds Road is named after the family. Mr Tom Prior (wife Eva) worked at the Melbourne zoo. He was very innovative and made his own camera, using the black cloth hood to exclude the light. The photographs are a reminder of the rural nature of Research and Eltham and its rich heritage. Ivy Reynolds would like to share this history, stories and anecdotes with you. If they are not recorded and presented they are lost. In Andrew Lemon's Book Return to Research, A Centenary History of Research Primary School, there is a chapter-- reminiscing ..... the Reynold's family in Research 1870 to 1989 by Jenny Anderson With this in mind, Ivy would like to present the Reynolds/Prior collection in album form to the Historical Society of Eltham, and also to the Andrew Ross Museum, Kangaroo Ground. Ross McDonald 605 Mt Pleasant Rd Research, Vic 3095 (March, 2006 )The Reynolds family were early settlers in Research. The Reynolds/ Prior collection of photographs were taken by Tom Prior, the maternal uncle of Ivy Reynolds, around 1900 and the 60 photos in the album give a fine overview of many of the landmarks of Research and Eltham over 100 years ago. lvy lived in the family home for many years at 106 Thompson Cres Research. Ivy's father, Ernst Richard Reynolds and grandfather, Richard Reynolds, lived at the same address. Ivy's father Richard worked for Mr. Trail on his property in Research. Reynolds Road is named after the family. Mr Tom Prior (wife Eva) worked at the Melbourne zoo. He was very innovative and made his own camera, using the black cloth hood to exclude the light. The photographs are a reminder of the rural nature of Research and Eltham and its rich heritage. Album of photograps (rteproductions) and A4 photocopy (7 pages) contained in album, the Reynolds/Prior Photograph Collection giving background to collection and notes on photosThe Reynolds/Prior Photograph Collection, Presented to the Eltham District Historical Society, 14 June 2006 by Ross McDonald. A second copy was also presented to the Andrew Ross Museum, Kangaroo Groundreynolds prior collection

A razor strop (or razor strap) is a flexible strip of leather or canvas used to straighten and polish the blade of a straight razor, a knife, or a woodworking tool like a chisel. Unlike honing or sharpening a blade, in which a whetstone removes metal bent out of alignment from the blade's edge, stropping the blade re-aligns the indentations without removing any material. The strop may be a hanging strop or a hand-held paddle. Various abrasive compounds may be applied to the strop to aid in polishing the blade while stropping to obtain a mirror-like finish. The properties of the compound applied will alter the polishing result. Jeweller's rouge is a very fine abrasive compound. The green Chromium(III) oxide compound is most often used as an abrasive compound. Sprays containing diamond particles are another option. Stropping is primarily done with straight razors, used for shaving, as these are the thinnest blades in everyday use, and require stropping at each use, due to the thinness of the blade Two points are key to stropping: Draw the blade spine-first along the strop. By contrast, honing is done edge-first. When you turn the blade at the end of a stroke, turn it over the spine, so the edge moves away from the strop and faces you, and the spine rests on the strop. This preserves the edge – if the blade is turned over with the edge against the strop, this will roll the blade edge, defeating the purpose of stropping As the use of safety razors increased in popularity this 'Jason' strop prolonged the life of each razor blade thus making them economical.A leather 'Jason' strop, for sharpening safety shaving razor blades, with box. Top of Box: J / The JASON / STROP/ Reg. Trade Mark / for SAFETY RAZOR BLADES / Reg. Patent No. 25435/35 ; Back : How to operate the JASON STROP ( instructions) Side: JASON / Razor Strop Dressing / A keen smooth blade will always be assured by the / occasional use of JASON RAZOR STROP DRESSING/ Side: FIFTY SHAVES WITH ONE BLADE ! / by using - JASON and JASON / Razor Blade Strop Razor Blade Dressing. End: JASON / Made by MEIK BROS. Pty. Ltd. / 15-17 Bedford St., Collingwood, and / 287 Flinders Lane, Melbourne, Vic. End: JASON / SAFETY RAZOR BLADE STROP.safety razors, the jason strop, shaving equipment, personal effects, strops, meik bros pty ltd, gillette, collingwood melbourne

The Bowler hat, characterised by its dome-like crown, was invented in 1849 by a pair of hat-makers: brothers Thomas and William Bowler. They were commissioned by the famous London hat retailer “Lock & Co” to invent a close-fitting, low-crowned hat for their customer Mr. Edward Coke. It would be sturdy and not easily knocked or blown off the wearer’s head. The difference between a Bowler hat and a Derby hat is simply that Bowler hats are British, Derby hats are American. The Bowler / Derby hat was devised in London during a time when the top hat was the upper-class men’s hat of choice and the lower social class wore soft, cloth caps. However, the top hat was impractical and inconvenient for those on horseback as it easily toppled over and was easily damaged. Bowler hats were termed “stiff” hats– they were given a coat of shellac in the construction process and therefore never conformed to the shape of the wearers head. While very stiff, the hat is lined in a beautiful, soft silk to ensure comfort. The Bowler hat marked the first middle ground between formality and casual wear. c1900 The Derby hats were very popular for all classes in USA including criminals like Butch Cassidy & Sundance Kid and c1920 many fashionable women also wore them. In England and Commonwealth the Bowler hat remained popular throughout the 1800s and through the first half of the 1900s, being worn by everyone from politicians, actors, accountants, bankers, and the 'everyman' on the street.The family of Nance Blackman were early settlers in Moorabbin ShireA black felt Bowler hat with cream silk lining and black ribbon bandInside Crown & Band ; The Cobweb Felt / easiest/ fitting / extra light / Inside Band Best Quality / 6111hats, hatters, blackman nance, clothing, suits, fashion wear, bankers, actors, politicians, bowler hats, derby hats, top hats, social classes, moorabbin, cheltenham, bentleigh, brighton, market gardeners, pioneers, early settlers, bowler thomas, bowler william, lock & co. ltd. london, england, america, canada

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied Bow ties are available, in which the distinctive Bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable Bow tie. Bow ties are worn by magicians, country doctors, paediatricians, lawyers, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A man's pre-tied black bow tie with a metal spring clip to attach to the shirt collar. The 2 spring clips have 'alligator teeth' to grip the collaron spring clip MADE IN AUSTRALIA SPRINGmenswear, clothing, bow ties, cheltenham, moorabbin, bentleigh, early settlers, pioneers, market gardeners, male neckwear

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied Bow ties are available, in which the distinctive Bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable Bow tie. Bow ties are worn by magicians, country doctors, paediatricians, lawyers, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A pre tied white Bow tie sewn on a neckband with an elastic clip fastenermenswear, clothing, bow ties, cheltenham, moorabbin, bentleigh, early settlers, pioneers, market gardeners, male neckwear

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied bow ties are available, in which the distinctive bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable bow tie. Bow ties are worn by magicians, country doctors, lawyers, paediatricians, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. This white bow tie is a 'fixed length' type that needs to be tied by the person wearing it. MAKO SIZE 15 1/2 menswear, clothing, shirts, collars, early settlers, fashion, cheltenham, moorabbin, dairy farmers, market gardeners, bow ties, mako pty ltd

The Bow Tie is a type of men's necktie that consists of a ribbon of fabric tied around the collar in a symmetrical manner such that the two opposite ends form loops. Ready-tied bow ties are available, in which the distinctive bow is sewn and a band goes around the neck and clips to secure. Bow ties may be made of any fabric material, but most are made from silk, polyester, cotton, or a mixture of fabrics. The Bow tie originated among Croatian mercenaries during the Prussian wars of the 17th century when the Croat mercenaries used a scarf around the neck to hold together the opening of their shirts. This was soon adopted under the name cravat, derived from the French for "Croat", by the upper classes in France, then a leader in fashion, and flourished in the 18th and 19th centuries. The most traditional Bow ties are usually of a fixed length and are made for a specific size neck. Sizes can vary between approximately 14 and 20 inches just like a comparable shirt collar. Fixed-length Bow ties are preferred when worn with the most formal wing-collar shirts, so as not to expose the buckle or clasp of an adjustable bow tie. Bow ties are worn by magicians, country doctors, lawyers, paediatricians, professors musicians and by people hoping to look like the above and clowns also wear oversized ones. In the 1980’s fashionable and professional women wore a type of Bow tie. Most men only wear Bow ties with formal dress. A man's pre tied black bow tie with an elastic fastening clipmenswear, neckties, bow ties, cheltenham. moorabbin, bentleigh

From the Adelaide Advertiser for 19 November 1952, p. 11: Two Happy Visitorsf rom the Pacific Adelaide is proving 'just like our real home'' to two charming and interesting visitors from Methodist missions in the Pacific. Miss Ravesi Mosi. of Fiii. and diminutive Miss Katalini Dimula, of Papua, the first native women missionaries to visit Australia From these islands. Ravesi and Katalini have enjoyed vastly the three months they have already spent in this country. Thev came here at the' invitation of the Methodist Women's Auxiliary for Oversea Missions in Victoria to take part in their diamond jubilee celebrations in Melbourne. They also spent some time in Sydney. But they are particularly happy to be in Adelaide because both of them have found old and good friends here. That is why it feels! like 'home'. Katalini. whose home is on the Island of Misima, in the far south-west of Papua, is the guest of the Rev. H. K. Bartlett and Mrs Bartlett. who lived on Misima for several years and knew Katoitni as a young girl. They are the first people she has met in Australia who speak her language and know her background. It was a personal interest to them to hear of her work as a missionary nurse, for which she did her training in Salamo Hospital on Ferguson Island, about 200 miles away from Misima, where she now helps to train the women of the island villages in the principles of health and hygiene and caring for their babies according to modern methods.Katalini is dressed in a grass skirt and a western top."Katalini Dimula" "D. Schmidt"katalini, dimula, methodist, papua

In May 1931 the Australian government announced a 20% reduction in expenditure, cuts to wages and pensions, and increased taxation. Despite workers striking, wages were reduced and working hours increased. The economy plunged into depression. Workers blamed the hardships on greedy bankers and the rich elite. The unemployed’ home-made, designed, knitted, painted and created things like pegs, pincushions, soaps, kitchen utensils and Pokerwork art, to sell door-to-door or in the streets. ‘Make Do and Mend’ was the mantra of the time. Making and mending clothing at home became a means to save money and an income offering services mending, altering or making clothes for the working people. Making over garments had been a time-honoured tradition since pioneer days. During the Depression clothes were a luxury and new fashions were created by altering old clothes. A best dress became a housedress, a church suit became a mine suit. Old shirts became new aprons, old trousers became new hats. Magazines and newspapers published Instructions on making and mending clothing and these became curriculums for sewing classes. Darning, mending, patching, saving fabric for rags, patches or upcycling became a necessity. Having a Sewing machine like this 1927 Singer housed in Oliver Gilpin’s store at Coal Creek Community Park and Museum could be the difference between survival and starvation The popularity of publications such as ‘Make do and mend’ lasted through the Second World War and into the 20th Century. Hand operated Singer sewing machine with wooden cover, circa 1927Y4476618

Town Hall, The Bendigo Choral Society. (Season 1919-Third Concert) Eleventh Grand Concert, Town Hall. Wednesday, December 17th, 1919. Artists: Miss Claire Colgan, Miss Myrtle Knight, Mr. E H Collett, Mr. A E Sayer. Conductor: Mr. W C Frazier, A.R.C.O. Pianiste: Miss Muriel Hyett, L.A.B. Patron-His Worship the Mayor (Cr. J H Curnow). President-Mr. H M Leggo. Vice-Presidents-Sir John Quick, Cr. C W Beebe, Mr. Oscar Flight, Mr. E S Cahill, Mr. D Berrriman, Mr A L Bolton, Mr. G E Bolton, Dr W G Long, DR O Penfold, Mr. J G Oliphant, Mr. Alf E Wallis, Mr. A Whitehead, Mr. W Watts. From the performing Members-Mr. E H Collett, Mr. A W McGibboney. Conductor-Mr. W C Frazier, A.R.C.O. Sub-Conductor- Mr. E A Miller, Pianist-Miss Muriel Hyett, L.A.B. Ass. Sec.-Mr. Fred A Wittscheibi. Treasurer-Mr. D H Holden. Librarians-Mr. R J Duguid & G L McCoy. Auditors-Mr. H T Bayton, A.A.I.S. * Harold Walker. Committee-Office Bearers: Mesdames T Scott, & Chisholm, & Misses Colgan, Gall, Field & Wheaton, & Messrs. Sleeman, Jeffrey, McClure, Brown, F J Walter & Frank Wittscheibe. Subscribers may book at Flights on and After 12th December, without extra fee. Holders of 2/2 tickets may also book by paying difference, 1/1. Admission- 2/2/ Reserved, 1/1/ Ordinary, including tax. J Hudspeth, Hon. Secretary, 85 Wills Street, Bendigo. Programme. 'Comfort Ye' 'Every Valley' 'And the Glory', Hungarian Danse' No.3, 'Softly Sighs', 'Fire, Fire my Heart', 'Spring', 'Best Pair of Sirens', ' Legende', 'Eleanore', 'Dream Wind', 'Ave Maria', 'Fantasie Pastorale', 'O Great is the Depth'. 'Dream Wind' Words by William Sharp. 'Fire, Fire My Heart' Words by Morley. 'Blest Sirens' ''Voice'' and ''Verse'' Words by Milton. The Bendigo Choral Society. Exists for the worthy production of the choral works of the great composers. Under the leadership of Mr. Frazier, it can fairly claim to have accomplished this, at least in some degree, during the past year. Works have been. . . . . . Note - The rehearsals will be resumed 2nd week in February 1920. Annual Meeting 3rd week. A and b are same, a is in excellent condition, b has some slight discoloration on the back. Both have been folded in half and in half againBolton Bros, Printersprogram, theatre, the bendigo choral society

Taken in the 1950s, this picture is of two veterans of the First World War, Colonel Sir William Leggatt and Brigadier Sir Lionel Harris who fought together in France over 30 years prior. The two men were invested by the Queen at Buckingham palace as Knights, a prestigious honour for Australian soldiers, who for another 20 years would have no official recognition by the Australian government through the 'Order of Australia.' This image showcases the role of Australian service members who fought during the first world war being honoured by the British Government, personally meeting the Queen. Black and white photograph accompanied by text below taken from a NewspaperObverse: VICTORIA'S Agent-General, Colonel Sir William Leggatt (right) and his old / cobber's Brigadier Sir Lionel Harris, outside Buckingham Palace yesterday after hav- / ing received the accolade form the Queen. Thirty-two years ago as sergeant and private / they shared a trench in France. Yesterday as they waited to be knighted by the / Queen, Sir William said, "if anyone had told us then that we were ever going to / meet like this, we would have thought he was off his block. - Today's radiophoto / Reverse: 6539 (in pencil) / burke museum, beechworth, beechworth museum, world war one, military album, trenches, nighted, queen, buckingham palace, wwi, sir william leggatt, sir lionel harris

Picnic in the bush. Probably Black Ranges. Church group.Black and White Photograph of a group of people in a bushland setting. Women wearing long dresses with large hats. Photograph cropped.Dear Mert, There's nothing like keeping up appearances so you see I got as near the Parson as possible. How do you do di de do how as you do de do di do etc. is Jimmy living where hes living now or has he gone away. From yours sinc. M the other side. P.S. don't run away with the idea that it was Jack I was edging up to. Forgot your number its late to go over home. stawell

Black and white postcard photograph of a view of Rutherglen with paddocks in the foreground.Card addressed to "Mr J Ryan, The Hospital, Wangaratta" Message: "Dear Jim, Just a few lines to let you know I am sending some oysters by first train tomorrow so you can send to the Stn. for them. I hope you will like them and trust you are getting better, you must look after yourself, and not get bad again, you owe me a letter, do you get the papers. Best love to you from all, Marie" Postmarked February 24, 1908.lake king, rutherglen, jim ryan

Colour postcard photograph showing railway station and yard with a steam train engineWritten on back of card: "Address 214 Talbot St South Ballarat | Rutherglen 20/1/07 | Dear Alick. All well. Hope you are enjoying your new place & are in good health. Am going away by Excursion on Wednesday if any chance would like to see you have left my job so may not come back. Toby | Yours T Irvine" Address: "Mr A Hylands | c/o Mr Touleins | Baker | Swanpool | via Benalla" 1d stamp with postmark: "Rutherglen JA 22 07"rutherglen railway station, railway stations, steam trains

This thank you card is from Thomas Rome (1873-1974) when he was celebrating his 100th birthday in 1973. Thomas Rome came to Warrnambool from Beechworth to work with John Younger in his Warrnambool store in 1888. He worked there for 17 years before opening his boot and shoe shop at 115 Liebig Street in 1907, retiring in 1962. Thomas Rome is remembered today not only for his long life and prominent Liebig Street business but also because of the sound recordings he made in 1896-7 at the Warrnambool Industrial and Art Exhibition. With an Edison phonograph machine he made sound recordings of local artists and these are regarded as one of the oldest, if not the oldest, surviving sound recordings made in Australia. This card with its envelope is of interest as it reminds us of the long life of a prominent Warrnambool identity of the late 19th century and the first 70 years of the 20th century. The card has T. J. Rome’s signature. Mrs Vera Giles was the recipient of the card a long-serving member of the Warrnambool and District Historical Society and, like Tommy Rome, a person who reached her 100th year and beyond. This is a small piece of white lightweight card folded into two to make a card. Inside is a handwritten and printed message from Tommy Rome on the occasion of his 100th birthday The envelope bears the post mark 18th September 1973 and is addressed to Mrs Giles. Envelope: ‘Mrs Giles, 3 Cyma Street, Warrnambool, Vic. 3280, a seven cent stamp and a handwritten note – ‘Tom Rome, ‘thank you’ 100th b’day’. Card: ‘Murweh’, 203 Liebig Street, Warrnambool 3280 Dear Mrs Giles I would like to express my appreciation of your kind message which I received on my 100th birthday. The good wishes of so many have given me happiness and I ask you to accept my warm thanks, With kind regards, Yours sincerely, T.J.Rome thomas rome, murweh, warrnambool history, vera giles warrnambool

Christmas Greeting sent by seafarers who previously visited the Mission to Seafarers circa 2000 - 2015A4 colour laser print of several collaged images with messageI enjoyed your warm smile but time has come to say goodbye to you and this beautiful place . Again I am in my homeland with wild elephants , white sand and my family enjoying the beusty of pearl in the Indian ocean and its [sic] Sri Lanka. So if I forgot to say GOOD BYE because I dont like that word. Hope we will meet each other Oneday [sic] cuz this world is small . Enjoy the summer!!! Wish you a merry Christmas ! AND God Bless You!!! / MERRY CHRISTMAScrew 717, flinders street, mission to seafarers, christmas, elephant, sri lanka, indian ocean

It took 15 years to invent the can. It took 100 more to invent a standard way to open it. In the 19th century, decades after the invention of canning, there were virtually no can openers. Canned food, such as sardines, came with its own "key" to peel back the tin lid. Birth of the can One of the oddest things about the can opener is that the can predates it by almost 150 years. Though common today, cans were once military-grade technology. In 1795, Napoleon, to whom the phrase "an army marches on its stomach" is attributed, offered 12,000 francs to anyone who could find a way to preserve food. Without any knowledge of bacteria or their role in food spoilage, scientists didn't even know where to begin. It took 15 years before a chef named Nicholas Appert claimed the prize after successfully jarring food. Soon after that, his countryman Philippe de Girard came up with a variant on Appert's method—metal tins—and sold the idea to the British. Spoiled food, and the sickness it caused, was a widespread problem. The public would have benefited from canned food, but for decades cans were almost exclusively for the army and the navy. The canning process, with its hours of boiling and steaming, its scrupulous cleanliness, its heated metal, and its need for a great deal of disposable material, made canned food far too expensive for anyone but the military. No can openers were needed or even possible. The metal of early cans was too thick to make openers practical. Soldiers and sailors had plenty of sharp objects on hand and made ample use of them when they wanted to eat. During the 19th century, the process of canning was refined and mechanised, and the metal wall of the average can slimmed down enough that a civilian could get it open—if that civilian had the right tool. No one had that tool yet, so early cans had to open themselves. In other words, they came with built-in openers. The result was a confusing but pleasing free-for-all, in terms of product engineering. Each type of food came with its own kind of can, and each kind of can came with its own kind of opener. Tinned fish and meat were often sold in rectangular cans. These cans were fitted with a "key" that would roll down the top of the can. Coffee, beans, and other types of meat were packaged in cylinders with metal strips that could be peeled back with their own kinds of built-in keys. Cans of milk, which didn't need to be completely opened, came with puncture devices. As tinned food became more common, its containers became more regular. A nice cylindrical can became the norm, and, as these cans filled kitchens, more engineers put their minds to finding a convenient way to open all of them. The first standalone can opener worked on a simple principle: point, stab, and pull. From the mid-19th century to the end of World War I, the typical can opener looked roughly like a wrench, if the lower 'jaw' of the wrench were replaced with a blade. People used the blade to puncture the top of the can near its edge, push the upper jaw against the side of the can, and drag the blade through the metal along the rim. Because meat was the first and most popular canned substance, these can openers were often shaped to look like cows and given the nickname 'bully beef can openers'. The bully beef can opener, popular in the mid-19th century, resulted in many lost fingers. Later, a corkscrew was added that was seated in the handle, and could be pulled out for use. Bully beef can openers were so common, effective, and sturdy that they are still frequently available on collectors' sites. Some are advertised as “still working,” and every last one of them is, without a doubt, soaked in the blood of our ancestors. Dragging a sharp blade along the edge of a can is certain to cause injury sooner or later. So once people got a reliable can shape and a reliable way to get the can open, the search was on for a reliable way to get a can open without the possibility of losing a finger. The answer came in 1925, from the Star Can Opener Company of San Francisco. This is probably the first can opener that resembles the one people have in their kitchens today. Instead of using a blade to pry open a metal can, buyers could clamp the edge of the can between two wheels and twist the handle of one of the wheels to move the blade around the lip. The Star can openers weren't perfect. Compared to the bully beef model, they were flimsy and breakable, but they probably prevented a few injuries. Six short years after the Star model came to market, the first electric can opener was invented. It was patented in 1931 by the Bunker Clancey Company of Kansas City, who had already been sued by the Star Can Opener Company for trying sell a double-wheeled can opener like the Star model (the case was dismissed). The electric can opener must have seemed like the wave of the future and a sure-fire seller, but it proved to be too far ahead of its time. In 1931 not that many households had electricity, and those that did weren't interested in buying can openers. The Bunker Clancey Company was subsequently bought by the Rival Company, which still makes small appliances like can openers today. It took another 25 years for electrically powered can openers to become practical. In the 1950s, Walter Hess Bodle and his daughter, Elizabeth Bodle, developed an electric can opener in the family garage. Walter came up with the opener's blades and motor, and Elizabeth sculpted the outside. Their can opener was a free-standing unit that could sit on the kitchen counter. The Udico brand of the Union Die Casting Company put it on the market in time for Christmas in 1956 and had great success with it. Over the next few years it came out in different styles and colours, and, like the bully beef can opener, has become a collector's item. Also like the bully beef model, Udico can openers often still work. They don't make 'em like they used to. Although there have been some design changes and refinements over the last sixty years, there have yet to be any more leaps forward in can opener technology. If you're resentfully opening a can, you are almost certainly doing it using the Star design, manually forcing the can between two wheels, or the Bodle design, clamping the can into a free-standing electrical opener. Whether or not you enjoy your holiday meals, at least you can be happy that you are not getting poisoned by your own food or cutting open your hand with the blade you use to get at it. That's something, right?The can opener, Bottle opener and the corkscrew are still very important and essential items in most kitchens.Metal can opener, chromed, with bottle opener, and a corkscrew seated in the handle.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, canning, can opener, corkscrew, bottle opener, kitchen equipment

It took 15 years to invent the can. It took 100 more to invent a standard way to open it. In the 19th century, decades after the invention of canning, there were virtually no can openers. Canned food, such as sardines, came with its own "key" to peel back the tin lid. Birth of the can One of the oddest things about the can opener is that the can predates it by almost 150 years. Though common today, cans were once military-grade technology. In 1795, Napoleon, to whom the phrase "an army marches on its stomach" is attributed, offered 12,000 francs to anyone who could find a way to preserve food. Without any knowledge of bacteria or their role in food spoilage, scientists didn't even know where to begin. It took 15 years before a chef named Nicholas Appert claimed the prize after successfully jarring food. Soon after that, his countryman Philippe de Girard came up with a variant on Appert's method—metal tins—and sold the idea to the British. Spoiled food, and the sickness it caused, was a widespread problem. The public would have benefited from canned food, but for decades cans were almost exclusively for the army and the navy. The canning process, with its hours of boiling and steaming, its scrupulous cleanliness, its heated metal, and its need for a great deal of disposable material, made canned food far too expensive for anyone but the military. No can openers were needed or even possible. The metal of early cans was too thick to make openers practical. Soldiers and sailors had plenty of sharp objects on hand and made ample use of them when they wanted to eat. During the 19th century, the process of canning was refined and mechanised, and the metal wall of the average can slimmed down enough that a civilian could get it open—if that civilian had the right tool. No one had that tool yet, so early cans had to open themselves. In other words, they came with built-in openers. The result was a confusing but pleasing free-for-all, in terms of product engineering. Each type of food came with its own kind of can, and each kind of can came with its own kind of opener. Tinned fish and meat were often sold in rectangular cans. These cans were fitted with a "key" that would roll down the top of the can. Coffee, beans, and other types of meat were packaged in cylinders with metal strips that could be peeled back with their own kinds of built-in keys. Cans of milk, which didn't need to be completely opened, came with puncture devices. As tinned food became more common, its containers became more regular. A nice cylindrical can became the norm, and, as these cans filled kitchens, more engineers put their minds to finding a convenient way to open all of them. The first standalone can opener worked on a simple principle: point, stab, and pull. From the mid-19th century to the end of World War I, the typical can opener looked roughly like a wrench, if the lower 'jaw' of the wrench were replaced with a blade. People used the blade to puncture the top of the can near its edge, push the upper jaw against the side of the can, and drag the blade through the metal along the rim. Because meat was the first and most popular canned substance, these can openers were often shaped to look like cows and given the nickname 'bully beef can openers'. The bully beef can opener, popular in the mid-19th century, resulted in many lost fingers. Bully beef can openers were so common, effective, and sturdy that they are still frequently available on collectors' sites. Some are advertised as “still working,” and every last one of them is, without a doubt, soaked in the blood of our ancestors. Dragging a sharp blade along the edge of a can is certain to cause injury sooner or later. So once people got a reliable can shape and a reliable way to get the can open, the search was on for a reliable way to get a can open without the possibility of losing a finger. The answer came in 1925, from the Star Can Opener Company of San Francisco. This is probably the first can opener that resembles the one people have in their kitchens today. Instead of using a blade to pry open a metal can, buyers could clamp the edge of the can between two wheels and twist the handle of one of the wheels to move the blade around the lip. The Star can openers weren't perfect. Compared to the bully beef model, they were flimsy and breakable, but they probably prevented a few injuries. Six short years after the Star model came to market, the first electric can opener was invented. It was patented in 1931 by the Bunker Clancey Company of Kansas City, who had already been sued by the Star Can Opener Company for trying sell a double-wheeled can opener like the Star model (the case was dismissed). The electric can opener must have seemed like the wave of the future and a sure-fire seller, but it proved to be too far ahead of its time. In 1931 not that many households had electricity, and those that did weren't interested in buying can openers. The Bunker Clancey Company was subsequently bought by the Rival Company, which still makes small appliances like can openers today. It took another 25 years for electrically powered can openers to become practical. In the 1950s, Walter Hess Bodle and his daughter, Elizabeth Bodle, developed an electric can opener in the family garage. Walter came up with the opener's blades and motor, and Elizabeth sculpted the outside. Their can opener was a free-standing unit that could sit on the kitchen counter. The Udico brand of the Union Die Casting Company put it on the market in time for Christmas in 1956 and had great success with it. Over the next few years it came out in different styles and colours, and, like the bully beef can opener, has become a collector's item. Also like the bully beef model, Udico can openers often still work. They don't make 'em like they used to. Although there have been some design changes and refinements over the last sixty years, there have yet to be any more leaps forward in can opener technology. If you're resentfully opening a can, you are almost certainly doing it using the Star design, manually forcing the can between two wheels, or the Bodle design, clamping the can into a free-standing electrical opener. Whether or not you enjoy your holiday meals, at least you can be happy that you are not getting poisoned by your own food or cutting open your hand with the blade you use to get at it. That's something, right?The can opener is still a very important and essential item in most kitchens.Can opener, right handed, metal, upper blade section serrated, inscription 'Peerless Pat.Feb 11-90'.Peerless Pat.Feb 11-90flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cannning, can opener, kitchen equipment

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic. The second type has a post in the center where the thread is wound. The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace.Tatting Shuttle, Ivoryflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tatting shuttle, handcraft, needlework