Various documents recording the discussions around helping an ex-Legatee who needed financial assistance. Louis Vavjinski was a member of Legacy in the early years (1920s and 1930s) and gave remarkable service especially to boys' classes where he was an excellent instructor. He had married a French lady at the end of World War 1 and they returned to France after the second world war. By the 1960s he was in financial difficulties and the correspondence points out that he was not eligible for an Australian pension due to living in France. A group of Legatees worked together to raise funds (over £1000) to send Louis, in one letter they approached Legacy President Ivan Layton for funds from the Presidents fund. This shows that legatees form strong bonds with each other and have a desire to help anyone in need. The Presidents Fund was created in 1932 with the aim to give the President a way to help needy cases with discretion and without having to gain approval from committees. In many cases the money was repaid by the recipient. This document was in a folder labelled President's Fund Correspondence and was with other file items about donations to help appropriate cases. The folder was marked with H40 which is part of an early archive project from the late 1960s and early 1970s.The Presidents Fund was a significant help to legatees and junior legatees who were unable to obtain help from other sources.File copy of correspondence about sending money to Louis Vavijinski in France in 1969.financial help, presidents fund

Situated at the top of the hill in Arthur Street, the former Jelbart residence and barn were part of a major change that transformed Eltham's character in the late 1960s. Built from the mid 1940s through mid 1950s when Eltham was a rural community, the Jelbrat residence and barn are all that remain of a family property of some 250 acres (100 ha). With growing population pressures, in the late 1960s, owners Ron and Yvonne Jelbart decided to subdivide their property creating the Woodridge Estate in the early 1970s, a major factor towards the transformation of Eltham to the suburb it is today. The Jelbarts had moved to Eltham in the early 1940s when they purchased a poultry farm in New Street, now Lavendar Park Road. (The local Black Friday bushire of January 13, 1939 had started at C.A. (Clarrie) Hurst’s Eltham Poultry Farm and Hatchery in New Street.) Jelbart was primarily a businessman importing office machinery but desired farm beef and dairy cattle so the couple purchased the virgin bushland at what was then at the end of a dirt road, Arthur Street. With post war shortages of most building materials, they followed the example of the Eltham Artists' Colony (later called Montsalvat) and built thier home from mud-bricks and recyclked materials. The barn was first to be completed in 1945 which they made their home whilst building the main residence. It took eight years to complete the two buildings. Both the main residence and the barn are now separate homes, and along with the remaining property being sub-divided further in 1998 are now part of the Kinloch Gardens Estate at 93 Arthur Street. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p139 Standing on a hilltop at Arthur Street, Eltham, the Jelbart residence and former barn were part of a major change that transformed Eltham’s character in the late 1960s. Built from the late 1940s to the mid 1950s when Eltham was a rural community, they are all that remain of what was once a family property of around 250 acres (100 ha). As population pressure increased in the late 1960s, owners Ron and Yvonne Jelbart, decided to subdivide their property. The break-up of this property into the Woodridge Estate in the early 1970s, was a major factor towards transforming Eltham into the suburb it is today.1 Although standing only a few minutes from Eltham’s busy hub and hundreds of houses in Woodridge, scarcely any urban sound disturbs the peace. Views from the two buildings are almost exclusively of trees and extend to Mt. Dandenong to the south-east, the Great Divide to the north, and Melbourne city to the south-west. The Jelbarts had lived in Eltham since the early 1940s when they bought a poultry farm in New Street, now Lavender Park Road. Although Jelbart was primarily a businessman importing office machinery, he was keen to farm dairy and beef cattle, so the couple bought rough bushland at what was then the end of Arthur Street. But a shortage of building materials following World War Two hampered their plans to build their new home, so they followed the example of the Eltham Artists’ Colony (later called Montsalvat) and used mud-bricks and recycled materials.2 With great determination the family and friends constructed their house. Massive timber frames and huge quantities of mud-bricks were made on site. The barn was built first in 1945, and two years later, while camping inside, the Jelbarts started building their house. It took eight years to construct the two buildings, even with the help of professional tradesmen. The buildings, with timber frames infilled with mud-brick and plastered, are reminiscent of the English Tudor style. The Jelbarts are of Cornish stock. Much of the timber framework came from demolished bridges or warehouses, and recycled slate was used for roofs and floors. Quality second-hand materials were readily available in the late 1940s and 1950s when there was much demolition in Melbourne and little respect for heritage. A former 19th century Toorak mansion Woorigoleen provided the magnificent stone fireplace, the timber panelling and the parquetry floor in the living room. The large stone gateposts at the entry of the property came from Melbourne University. Almost no mechanical equipment was used to build the 55 square house and the 25 square barn. Massive timber frames were erected using block and tackle pulleys and timbers were shaped, sawn and drilled by hand. Son and architect Ian, with his family, have lived in and extensively renovated both buildings since the early 1970s. Ian transformed the steep ridge of the property into a plateau, where the main house Kinloch stands, surrounded by terraces and lawns. The grounds retain many native plants, including massive yellow boxes – some nudging 80 years. Ian attached 70 metres of pergolas draped with wisteria, roses and grape vines, to three sides of the house. The beautiful garden is featured in the book Through the Rose Arbour by Rosemary Houseman. The two-storey barn – now a house – retains traces of its original use. The cow-shed with milking and feed-rooms, and the machinery-shed remain. The house, separated on the ground floor by a breeze-way, soars two storeys and includes a mezzanine. These are connected by spiral staircases, to timber-beamed and plaster-lined high-pitched ceilings. The house also descends to a wine cellar. Curiously the roof is of corrugated iron on the south and slate on the north, to save costs. Small-paned windows and three French doors open onto the front lawn, which extends to Jelbart Court.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, eltham, arthur street, jelbart barn, jelbart home, kinloch gardens

The fragments of pot were found in 20 meters of water off of the South Channel Light, Port Phillip Bay. They are believed to be from the ship 'Hurricane' that sank in the vicinity on April 22,1864. The Hurricane was a three-masted iron ship, weighing 1198/979 tons. Built on the Clyde, Scotland in 1853. Lbd 214.9 x 30.7 x 20 ft. It was one of the first large iron sailing ships built for the Australian trade during the gold rush, and one of the fastest clippers on the Australian run. Her maiden voyage from Glasgow to Melbourne with 256 passengers took eighty-seven days, and the return to London eighty-three days. In 1856 she was converted to an auxiliary screw vessel and continued in the Australian trade until lost. Under Captain D.H. Johnston (former master of the Lightning), inward bound from Liverpool with 2000 tons of general cargo and 19 passengers, grazed a rock entering Port Phillip, sank off Arthurs seat, 21 April 1869. Passengers and crew transferred to the tug Titan. The wreck was relatively intact until the late 1960s, when it was blasted by Ports and Harbours engineers who considered it to be a navigational hazard, spreading wreckage over a wide area. Despite this, the stern of the ship still stands about three metres above the sand. The wreck of the "Hurricane" in Port Phillip Bay and the accompanying story of the nearby lighthouse, the South Channel Pile Light, tell the story of early shipping within Port Phillip Bay, pre federation. 3 pieces of encrusted pot fragment all roughly A5 paper sizeshipwreck, port phillip bay, ship hurricane, south channel light

This letter to the editor of an unknown newspaper probably dates from the late 1960s or early 1970s. At that time the Victorian government’s Liberal Party Premier was Sir Henry Bolte. In a reference to the major industrial valley in Germany, he and his government had a vision to make Western Port and Hastings into “the Ruhr of Victoria”, if not Australia. While this letter does not refer to Western Port, but apparently to Wiliamstown, the situation was similar in both bays. Substantial land was zoned in Hastings by the Bolte Government for industrial purposes, where BP built a refinery for oil imported through the Port of Hastings. The large oil tankers entered Western Port Bay via the western channel, which required dredging to accommodate them. It became a common site to see globules or patches of oil washed up on beaches around Western Port, and oil-affected wildlife. It is impossible to know how many wildlife were affected directly by oil spills and other forms of pollution in the Bay during that era. Sufficient numbers of oiled Little Penguins were found to prompt numerous references to the problem in newspapers, including letters, articles and even major features. The refinery eventually closed, with tanker traffic dramatically reducing in Western Port from the late 20th century.Statement of significance: This letter to the editor is significant in making reference to pollution caused in Port Phillip and Western Port bays by tanker traffic and the presence of oil refineries on industrial land in the bays. It is also indicative of the emergence of many conservation-related community groups of volunteers in Australia during the 1960s and 1970s in response to growing concern around conservation issues. Letters to the editor were a common means for these groups to have their concerns aired in public.Photocopy of newspaper cutting, single column letter to the editor.little penguins, oil spill, western port, port of hastings, henry bolte, "ruhr of victoria", oiled penguins, oiled wildlife, bp refinery, oil tankers, , mrs d waight, williamstown and district animal relief society

A copy of the minutes of a committee meeting that discussed The Presidents Fund and the Over 70 meetings. It mentions that the annual gatherings for member over 70 years of age, originally meant it was primarily for those who fought in World War 1. Now WWII members were nearing that age and criteria might need to be reassessed. The Over 70 meeting was a major contributor of funds for the Presidents Fund. Perhaps by 1986 the annual amount donated by the Berry Trust had ended (for many years $1000 a year was received from the fund set up by Legatee Walter Berry). The President's Fund was created in 1932 by a donation of £50 from Legatee Walter W Berry from his late father's estate "to help temporarily embarrassed Melbourne Legatees" towards the end of The Great Depression. The aim of the fund was the give the President a way to help needy cases with discretion and without having to gain approval from committees. In many cases the money was repaid by the recipient. This document was in a folder labelled President's Fund Correspondence with many other documents that included correspondence, receipts of donations and material about when money was given to help appropriate cases. The folder was marked with H40 which is part of an early archive project from the late 1960s and early 1970s.A record that there was an Advisory, Tradition and History Committee at Legacy. The Presidents Fund was a significant help to legatees and junior legatees who were unable to obtain help from other sources.Minutes of the Advisory, Tradition and History Committee, black type on white A4 paper.financial help, presidents fund

This jacket and cap were designed by Rosalie 'Rosa' Kiessling about 1967. They formed part of the Fashion Group Inc's Walkabout Tour of the USA in 1967 which aimed to promote Australian fashion design in America. German by birth Rosalie, grew up skiing and ice skating, studied fashion design in Munich and worked designing women’s ski wear and lingerie before migrating to Australia via New Zealand in 1939 with her husband. As skiing increased in popularity following the end of WWII, Rosalie’s business grew reaching its peak during the 1960s. Though it was never large; at most she employed three staff. Her designs featured in the pages of Australian Vogue, Flair and the Women’s Weekly throughout the 1960s and received coverage from newspapers in Australia, New Zealand the United States. Rosalie was closely involved with the Swiss Club of Victoria, the Australian Wool Board and the Fur Traders Association, participating in numerous fashion shows and awards run by these groups. In the late 1960s she became involved with the Melbourne Branch of the Fashion Group Inc, a worldwide non-commercial association of women involved in the fashion industry. Rosalie continued to design and manufacture fashionable but functional ski wear until the late 1970s, although increasing imports from large overseas manufactures and constant new innovations in fabric technology made it difficult for her to compete in a relatively small industry. This ski jacket and cap illustrate Rosalie Kiessling's emphasis on practical glamour. She was the first Australian ski wear manufacturer to bring high fashion to ski wear design; which though common in the boutiques of St Mortiz, Chamonix and St Anton was new to Australia. The use of an Australian wildflower motif and of these pieces in the Fashion Group's Walkabout Tour also speak to her involvement in and promotion of the Australian fashion industry during the 1960s.Ski jacket and matching cap appliqued with Australian wildflowers.Noneskiing, ski clothing, fashion design, australian fashion, australian flora

The Singer sewing machine was purchased [in New Plymouth, NZ] by the donor, Yvonne's, parents as a birthday/Christmas present when she was about six or maybe a little older – therefore about 1935. Much, much later, in the 1960s, it was given to her daughter, Susan, who like Yvonne seldom used it because if the seam was not correctly tied off the whole seam unravelled.Singer sewing machine and original box. Intended as girls sewing machine to teach them to make dolls clothes. Metal with Singer logo and clamp to secure to table top, with appropriate needles.Singerdomestic items, sewing

Wodonga Shire was created in 1876 when the colonial government agreed to ratepayers' petitions to have their part of the local government district severed from the Yackandandah Shire to form a new municipality. After meeting for 14 years in rented remises, in the Prince of Wales Hall, Wodonga Council built its first Shire Hall on the corner of High and Elgin Streets in 1890. The date on the façade of the building, 1876, represents the date of the formation of the Shire. In 1957 the second Shire Office was built in Woodland Grove by A.B. and M. A. Chick. These offices were considered more than adequate for future needs. The façade featured floor to ceiling windows and several different meeting rooms in addition to the council chamber, which featured an impressive “horse shoe” table. It also included a kitchen equipped with modern fittings and a President’s room. In the late 1960s the area between Hovell and Havelock Streets as far as Jack Hore Place was zoned for civic purposes. In 1969 plans for a civic centre providing a library, theatre and senior citizens’ rooms. It was opened on 22 April 1971. In 1973, the Council engaged Bruce Marshall to design new offices beside the Civic Centre. Jennings Industries were contracted to complete the offices. The Governor, Sir Henry Winneke, laid the foundation stone of the new offices on 10 March 1976. The Civic Centre was demolished in 2011 to make may for a new $10 million community and entertainment centre which opened in August 2012.These photos are significant because they depict the different buildings which have housed the centre of local government in Wodonga since its inception as an independent shire in 1876.A series of photographs depicting the different buildings used to house the Wodonga Council and Civic buildings over time.wodonga civic buildings, wodonga council, shire of wodonga, rural city of wodonga

1. Falls Creek ski resort is on the Bogong High Plains 2. Kiewa Hydro Electric Scheme (late 1940s to early 1960s) was constructed by the State Electricity Commission of Victoria and included the townships of Bogong and Mt Beauty. The photos were taken by Wally Howell.Falls Creek is at the head of the Kiewa Valley and a major tourist attraction. Kiewa Hydro Electric Scheme was constructed by the SECV and included the creation of the Mt Beauty township.1. 16 Coloured photos of Falls Creek - not dated or labelled. Includes Malony's Ski Hire & Restaurant and Sundance Inn 2. 162 Coloured Photos not dated or labelled. Includes Kiewa Hydro Electric Scheme and Mt Beauty. Some multiple copies. 1. "Processed by Kodak Oct. 85 M" on printed in red ink on the back of one photo. Also, later labels were added in ink to identify each photo.falls creek, snow resort, skiing, ski lodges, sundance inn, malony's ski hire, spargos lodge, t-bar lifts, mt beauty, tourism

Photograph taken in the Celia Little Room at Mission to Seafarers Melbourne. The Celia Little Room was named in honour of the aunt of one of the serving (and resident) chaplains. The room is a multi-function room, being used at times for banquets or, as the photograph shows, for relaxation, by visiting seafarers.The age of the photograph consolidates the history of the Mission to seafarers. The people in the photograph are drinking hot beverages, sitting and chatting in a relaxed environment which is significant to the services provided by the Mission.Black and white photograph of two men and one woman seated in the Celia Little Room at the Mission to Seafarers.The man on the far left is wearing a light coloured sports coat and trousers, holding a cup and saucer. The man in the middle is wearing a dark suit, holding a cup and saucer. The woman is on the right and also seated, wearing a dress. Pin holes have been placed in the top corners of the photograph. Dated between late 1950s and early 1960s."8940" faded stamp on back of photograph.dress, suit, 1950s, 1960s, victorian-seamens-mission, cup-and-saucer, sports-coat, armchairs, seamen's mission, mission to seafarers, seamen, seafarers, sailors, lhlg, flying angel, celia little room, flinders street, melbourne, men, woman, social

The donor was given this doll about 50 years ago by her grandfather (in the late 1960s). He used to be a handyman at a high rise building in St Kilda, Melbourne. He had been doing some work for one of the old ladies and she gave him the doll to give to his granddaughter, who collected dolls. The doll has spent a few years at the Nagambie museum until it closed down and returned to the donor The origins or age of the doll are unknown. Originally it was thought to be a Fashion Doll dating from around the 1880s but the painted face together with the bisque legs and gold painted shoes are similar to those found on Boudoir Dolls (also known as Bed Dolls, Sofa Dolls, Flapper Dolls and French Dolls) of the early 20th century. Fashion dolls were sent from fashion houses to advertise the latest styles, fabrics, trims, hairstyles and accessories. Dressmakers would show these dolls to their customers. Ladies would then place their order and the dressmakers would make the dress to their size. The dressmakers would learn the construction techniques from examining the dolls. Boudoir Dolls dolls usually had no maker's marks and were primarily used as bedroom decorations for ladies rather than as children's toys. This doll appears to date at about the early part of the 20th century, but the petticoats are much older - possibly from a child's christening gown. At the time that the donor received the doll, it had a coloured lace over-gown that was badly torn so her mother removed it to replace with more lace but this never eventuated. The pink silk dress also appears to have been remodelled into a 19th century style with gathered sleeves and a gathered skirt. This fashion or boudoir doll is significant for being a rare example of a doll made in the late 19th or early 20th centuries. The doll is wearing clothing representing the fashion for young girls in that era. The doll is also significant as an item possibly used by fashion houses and dressmakers to advertise the latest fashions in clothing, trims, accessories and hairstyles. A doll such as this may have been found in a Victorian dressmaker's premises for use as a pattern and technique template and for a display to customers. It may also have been used as a decorative item in a lady's bedroom.Female boudoir doll with silk face and body, and porcelain lower arms and legs. She has plaited blonde silk hair. Her painted face has brown eyes and her shoes are painted gold. The doll is dressed in a long pink puffed-sleeve dress with a gathered waist and a ruffle at the hem. A pink ribbon around her waist is tied at the back. There are small silver balls hand-stitched around the neckline. She has a white, hand-embroidered lace petticoat and bloomers.warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, doll, boudoir doll, female doll, dressmaker's doll, display doll, late 1800s doll, fashion doll, antique doll, 19th century doll, children's fashion, girl's fashion, late 1800s children's fashion, early 20th century doll, composite doll, french doll

This electroplated silver teaspoon was made by the Sheffield Silver Plate & Cutlery Company Limited from about 1913 to early-1930s. It was recovered from an unknown shipwreck in the coastal waters of Victoria in the late 1960s to early 1970s. The shipwrecks in the area range from around the 1840s to the early-1930s. It is part of the John Chance Collection. Sheffield manufactures produced high quality silverware products. In the mid-1700s a cutler, Thomas Boulsover, invented a process to fuse copper between two sheets of silver, which could still be like solid silver then the edges were bound in silver. Items made this way are now referred to as Old Silver Plate. The modern method of electroplating has a much thinner layer of silver. The firm Sheffield Silver Plate and Cutlery Co. Ltd. was established in 1913 by Mappin & Webb to make spoons and forks using the American Wilzin process, which was a failure. In 1923 the company was incorporated then re-financed and reverted back to the older production method for electroplating. The maker’s stamp usually had the letters “S.S.P. & C. Co Ltd EPNS” and often included an octagon stamp with “SSP”. The firm had the registered trademarks of ‘SILCUTA’ and ‘SILTONA’ and has also used the name ‘Sheffield Nickel & Silver Plating Co. Ltd.’ The firm had manufacturing Works at Priestley Street, Sheffield from 1913 until the 1960s. They also had a London office in 1919 at Atlantic House, 40a Holborn Viaduct, London, E.C.1., then in 1921 at Union Bank Buildings, Charterhouse Street, E.C.1. The company was dissolved in 2000, the last office address being 23 Albemarle Street London, W1S 4AS. Although this spoon is not linked to a particular shipwreck, it is recognised as being historically significant as an example of cutlery, possibly from a passenger’s luggage or imported for use in Colonial Victoria in the 19th to early 20th century. The spoon is the only example in Flagstaff Hill’s collection that is connected to the manufacturer Sheffield Silver Plate and Cutlery Co. Ltd., historically significant also, as in 1939 the same manufacturer was a recognised supplier to the British Government. The spoon is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Spoon; teaspoon, nickel plated silver, discoloured to brown. Old English design. Inscription on handle. Made by Sheffield Silver Plate & Cutlery Co Ltd., Sheffield. Spoon has dimpled surface, nicks and dents. Embossed logo within sunken elongated octagon [SSP] Embossed letters following logo, “S S P C & CO LTD EP/NS” flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, sheffield, cutlery, eating utensils, electroplate, silver plate, silverware, flatware, antique flatware, old english flatware pattern, spoon, teaspoon, silver flatware, dining, silver plated, epnns, sheffield silver plater & cutlery, ssp, ssp & c co ltd, 20th century silverware

Murray Comrie Collection. Information written by Murray Comrie: A meeting was called at the Golden Age Hotel on 11th June 1868 when it was resolved to build a flour mill. Tenders were called by H.C. Bristol, in the Tarnagulla Courier of January 10, 1874, for the erection of the mill. Building of the Mill commenced in 1874. Pipes were laid to Company's Dam to obtain water for the Mill's boilers. Steam was got up for the first time on 30th March, 1882. A boiler burst about April 29th. Two men (J.H. Smith and W. Hargreaves) died as a result and two others were seriously injured. The mill commenced operations on 13th June 1882 with Mr. W. Fitzgerald as manager. Thomas Comrie was the proprietor and was responsible for the Mill being built. The Mill operated with grinding stones until 1899 when new rollers and a considerable amount of new equipment was installed, including a new, more powerful engine to drive the Mill. In January 1901, 6,000 bags of wheat were received weekly and it was a common sight to see the streets lined with wagons. In 1913, 15,000 bags of wheat were bought at three shillings and four pence per bushell. In January 1914, wheat came in at the rate of 1500 bags a day with 20,000 bags in storage. Thomas Comrie died on 4th August 1910. The Mill was carried on by his executors, then closed for a short period prior to being sold in September 1918 to a Mr. O. Albert of Talbot. Albert operated the Mill for a few years but during the 1920s it was closed down and then pulled down. It was later re-erected at Mildura where it operated for many years. This is a poor copy of an older original. Copy probably made by Murray Comrie in the late 1960s. Monochrome photograph of the Flour Mill in Tarnagulla, around 1920.tarnagulla, commerce, agriculture, food production, mill, milling, horses, transport, buildings, commercial road, main street

Murray Comrie Collection. Information written by Murray Comrie: A meeting was called at the Golden Age Hotel on 11th June 1868 when it was resolved to build a flour mill. Tenders were called by H.C. Bristol, in the Tarnagulla Courier of January 10, 1874, for the erection of the mill. Building of the Mill commenced in 1874. Pipes were laid to Company's Dam to obtain water for the Mill's boilers. Steam was got up for the first time on 30th March, 1882. A boiler burst about April 29th. Two men (J.H. Smith and W. Hargreaves) died as a result and two others were seriously injured. The mill commenced operations on 13th June 1882 with Mr. W. Fitzgerald as manager. Thomas Comrie was the proprietor and was responsible for the Mill being built. The Mill operated with grinding stones until 1899 when new rollers and a considerable amount of new equipment was installed, including a new, more powerful engine to drive the Mill. In January 1901, 6,000 bags of wheat were received weekly and it was a common sight to see the streets lined with wagons. In 1913, 15,000 bags of wheat were bought at three shillings and four pence per bushell. In January 1914, wheat came in at the rate of 1500 bags a day with 20,000 bags in storage. Thomas Comrie died on 4th August 1910. The Mill was carried on by his executors, then closed for a short period prior to being sold in September 1918 to a Mr. O. Albert of Talbot. Albert operated the Mill for a few years but during the 1920s it was closed down and then pulled down. It was later re-erected at Mildura where it operated for many years. This is a poor copy of an older original. Copy probably made by Murray Comrie in the late 1960s. Monochrome photograph of the Flour Mill in Tarnagulla, around 1920. Cropped version of 2019.0047.tarnagulla, commerce, agriculture, food production, mill, milling, horses, transport, buildings, commercial road, main street

Bonegilla operated as an army base from September 1940 and by 1943 was expanded to 848 buildings, including a general hospital. It provided training for small arms instructors, signallers, transport workers, bomb disposal and gas warfare personnel. In a response to the need to house the growing number of displaced persons coming to Australia, the Bonegilla Reception and Training Centre began operating in 1947. For some time it was a shared facility but the Army withdrew temporarily from Bonegilla in 1949, whilst still retaining ownership of the site. From 1949-65 Bonegilla Reception and Training Centre operated without a military presence. However, in the late 1960s and Australia’s commitments to the Vietnam War and pressed by the need to find accommodation to train men, especially National Servicemen, the Army negotiated with the Department of Immigration to take over several blocks at Bonegilla in 1965. Thirty-five huts were acquired by the Royal Australian Army Ordnance Corps as a Recruit Training Centre in which National Servicemen and recruits could attend 10-week ordnance courses. Shortly afterwards additional huts were acquired by the School of Military Survey, which established field-survey practical training areas and special astronomical observation sites as it began conducting courses in surveying. Instructors and trainees co-located at Bonegilla with migrant reception centre. In 1971 the Reception Centre closed and the site reverted to the Army. Progressively after 1971 the Army undertook a major site redevelopment with the construction of Latchford Barracks as the Army Apprentice School. Later Latchford Barracks was redeveloped into part of the Army Logistic Training Centre. Block 19 of the Mirant Reception Centre later became the Bonegilla Migrant Experience Heritage Park.This item depicts a heritage listed historical site located in the Wodonga district.A large poster size representation of the variety of buildings at Bonegilla, Victoria when it served as the location for the Royal Australian School of Military Survey. The insignia of the Royal Australian Survey Corps is featured in the top left hand corner.Top left corner: Insignia of the Royal Australian Survey Corps At bottom of sketches: "The School of Military Survey, Bonegilla Victoria / January 1966 - December 1982migrant reception centre bonegilla, army at bonegilla, australian military

This item was purchased at Leski's, Melbourne, Medical collection auction, 8 May 2013. The incubator was part of a rare collection of medical, dental and pharmaceutical objects belonging to a tourism business, Kryal Castle, near Ballarat, Victoria from 1974. At some point,apparently, an officer manager discarded the museum records, so the provenance of the neonatal incubator, and many other items in the Leski auction, has been lost.Neonatal incubator, "Glenleigh", made and used, late 1950s- early 1960s. The four side laminated panels as well as bottom panel are possibly made of asbestos fibreboard,. Each panel is sealed with polished aluminium strips, and has a metal handrail.The incubator is mounted on four castors made by "Shepherd USA'. On the front panel is a bakerlite dial and a bakerlite switch. The item is incomplete: the cover, probably glass, is missing. Inside the unit is an old calico infant's mattress.There are two name plates on the front panel; “Australia/ Victor Watson/Limited/ New Zealand” and "Glenleigh/ Baby Incubator/ Aeronautical & Industrial Lighting Co/ 677-9 North Road Carnegie”. Australia/ Victor Watson/Limited/ New Zealand” "Glenleigh/ Baby Incubator/ Aeronautical & Industrial Lighting Co/ 677-9 North Road Carnegie”. Castors::"Shepherd USA'

Photograph shows Ballarat Tramway Museum tram W4 671 (St Kilda Beach, route 15) in St Kilda Road at High Street during the late 1950s or early 1960s It has a "Mr Motorist keep my tracks clear" sign on the rear. A number of sun shades have been lifted.Yields information about W4 class trams.Photograph - Black and White W4 671 St Kilda Roadtramways, trams, w4 class, tram 671, st kilda road

Wright’s Coal Tar Soap was a popular brand of household soap, manufactured by William Valentine Wright from 1867. The yellow soap was antiseptic, designed to cleanse the skin thoroughly. It was originally named Sapo Carbonis Detergens, which remains a registered trademark. The product was developed from ‘liquor carbonis detergens’, the liquid by-product of the distillation of coal to make coke. The liquid was made into an antiseptic soap for treating skin diseases. William Valentine Wright was born in 1826 at Aldeburgh, Suffolk. He was a wholesale druggist and chemist who had a small business, W.V. Wright & Co., at 11 Old Fish Street Hill, City of London, where he first sold the soap. In 1863 Wright moved his firm to small premises at 50 Southwark Street, Southwark, London, and not long afterwards M. Sellers and Mr Charles Noel Layman joined the partnership. The company's name changed to Wright, Layman & Umney, when Charles Umney (1843–1909) was taken into the partnership on June 17, 1876, after the death of M. Sellers. William Valentine Wight 1877. Rob Umney, great-great-grandson of Charles Umney, provided further details about the firm, adding that in the late 1960s, the Wright’s Coal Tar Soap business was taken over by LRC Products Ltd who sold it to Smith & Nephew in 1994. The current owners of the brand, Simple Health and Beauty Ltd are based in Solihull and the soap is called Wright's Traditional Soap ‘With coal tar fragrance’. The coal tar has been replaced with tea tree oil. There were concerns that ingredients in coal tar could cause cancer when a person is exposed to very high concentrations, such as in roofing and road paving. In January 2025 the current manufacturers still produce the Wright's Coal Tar Soap.The flier states that Wright's Coal Tar Soap was sold throughout the United Kingdom and Colonies, which includes Australia. The soap is representative of the many consumer goods sold at pharmacies and chemist shops across the world, such as Sambell and Son, who operated a pharmacy in Fairy Street, Warrnambool in the 19th century. The paper flier is rectangular and has printed text and a logo. The top right corner has stamped punch marks. It promotes Wright's Coal Tar Soap, made by Wright, Layman & Umney Ltd. England.Punch mark; "1176"flagstaff hill, maritime museum, wright's, coal tar soap, soap, bathing, antiseptic, washing, personal hygiene, london, southwark, chemist, pharmacist, colonies, wright's coal tar soap, sapo carboni detergens, punch marks, england, soap tablet, babies soap, nursery soap, advertising, poster, flyer, wright, layman & umney ltd., w.t. wrifght & co., soap bar, soap cake

Wright’s Coal Tar Soap was a popular brand of household soap, manufactured by William Valentine Wright from 1867. The oval yellow soap tablet was antiseptic, designed to cleanse the skin thoroughly. It was originally named Sapo Carbonis Detergens, which remains a registered trademark. The product was developed from ‘liquor carbonis detergens’, the liquid by-product of the distillation of coal to make coke. The liquid was made into an antiseptic soap for treating skin diseases. William Valentine Wright was born in 1826 at Aldeburgh, Suffolk. He was a wholesale druggist and chemist who had a small business, W.V. Wright & Co., at 11 Old Fish Street Hill, City of London, where he first sold the soap. In 1863 Wright moved his firm to small premises at 50 Southwark Street, Southwark, London, and not long afterwards M. Sellers and Mr Charles Noel Layman joined the partnership. The company's name changed to Wright, Layman & Umney, when Charles Umney (1843–1909) was taken into the partnership on June 17, 1876, after the death of M. Sellers. William Valentine Wight 1877. Rob Umney, great-great-grandson of Charles Umney, provided further details about the firm, adding that in the late 1960s, the Wright’s Coal Tar Soap business was taken over by LRC Products Ltd who sold it to Smith & Nephew in 1994. The current owners of the brand, Simple Health and Beauty Ltd are based in Solihull and the soap is called Wright's Traditional Soap ‘With coal tar fragrance’. The coal tar has been replaced with tea tree oil. There were concerns that ingredients in coal tar could cause cancer when a person is exposed to very high concentrations, such as in roofing and road paving. In January 2025 the current manufacturers still produce the Wright's Coal Tar Soap.Wright's Coal Tar Soap was sold throughout the United Kingdom and Colonies, which includes Australia. The soap represents many consumer goods sold at pharmacies and chemist shops across the world, such as Sambell and Son, who operated a pharmacy in Fairy Street, Warrnambool in the 19th century. The product has endured for over 150 years.Soap; yellow oval tablet of soap engraved with the brand Wright's Coal Tar oval."WRIGHT'S / COAL TAR / SOAP"flagstaff hill, maritime museum, wright's, coal tar soap, soap, bathing, antiseptic, washing, personal hygiene, london, southwark, chemist, pharmacist, colonies, wright's coal tar soap, sapo carboni detergens, england, soap tablet, babies soap, nursery soap, wright, layman & umney ltd., w.t. wrifght & co., soap cake, soap bar, medical, cleansing, baby care

Rain cape, also used as a groundsheet, issued Australian servicemen. Purchased for the donor from an "Army Surplus" store and re-purposed for camps as a Scout in the late 1960s. The MK VII Groundsheet (Rain Cape / Poncho) was introduced in October 1917 during WW1. They were made from dyed cotton, proofed with a rubber compound, "well vulcanized" on one side. Weight 3lb. 8oz;. 78 inches long by 36 inches wide and made by the Victoria Rubber Co. Edinburgh. They were used again during WWII 1939-45 Today the Army uses the hootchie - a sheet of 70D nylon or PU-coated cotton with various press snaps and webbing tape loops attached around the outside which allow it to be used in a variety of configuration. During WWII Australian forces fighting the Japanese in the Islands had an urgent requirement for a decent individual shelter. The rubberized canvas groundsheets and rain capes continued to be used, but these were less than effective in the tropics. Towards the end of the war in the Pacific Australia began issuing its troops a lighter weight version of the groundsheet manufactured from polyurethane-coated cotton – During the Malayan Emergency of the 1950s, Australian troops were issued with hooded ponchos. Unlike the WWII US pattern ponchos which always had a hole in the dead centre of the poncho sheet, the Australian-issue hooded ponchos made an effective shelter – especially when two where clipped together. The problem of course is that the rubberized canvas ponchos were far too heavy for jungle use. 1960s Australian units in Borneo were issued with the first pattern lightweight hootchies. 1 Kg. 1970 the Vietnam War, a second pattern lightweight hootchie was issued made from nylon, but retaining the hardware and loops. This lightweight hootchie weighed a mere 680 grams, still heavy, but suitable for tropical use. Currently the hootchie is made from AUSCAM nylon material . Historic significance; representative of the type believed to have been issued to Australian servicemen in World War II, possibly in World War I.Waterproofed Canvas rain cape, also used as a groundsheet in the Australian Army, press studs to close as a cape, collar to cover neck.NILuniforms, australian army, world war ii, army surplus, scouts australia, bentleigh, moorabbin, world war 1, hooded ponchos, borneo, auscam nylon material, hootchies, malayan emergency, vietnam war, groundsheets

Black and white photo of Nunawading Brownie Guiders at a parade in Mitcham Shopping Centre. Photo shows the Mitcham shops on the north side of Whitehorse Road, west of Mitcham Road.The traders shown in the photo, left to right, Claude Richards-Draper; D.G.Williamson - Fruiterer; Bob Dorien - Chemist in same building as Williamson; Hay and Corn Store - ???; and Norman & Sons-Grocer.Across Mitcham Road is Barrie George - Milk Bar; Fish Shop- ??? and Ken Herbert - Grocer; the Mitcham Memorial Hall is on the east side.It is estimated that the photo was taken in the late 1950s or early 1960s.richards, claude, dorien, bob, williamson, d.g., norman & sons, george, barrie, herbert, ken, fish shops, mitcham memorial hall, gardiner, shirley, floyd, peg, quick, judith, elsworth, jean, lynette, brown, evelynne, hogben, pam, sue, yarrow, erica

This handmade green glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, green glass wine bottle with contents. Glass has ripples and crease lines. The mouth has a seal in place. The applied lip is cracked. It has a deep pushed-up base with a pontil mark. Handmade with no seams in the body. The contents smell like apple cider vinegar. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, green glass

This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a two-piece dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, black glass wine bottle with contents. Glass has ripples, crease lines and side seams. The mouth has a seal in place. The applied lip is wide. The base has been pushed-up base and has a pontil mark. Handmade with a ridge in the body around the base of the shoulder. The bottle has a white sticker.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, black glass, black bottle

This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber-coloured glass and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a two-piece dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free-blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from the fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance because of the relationship between the objects, as together they have a high potential to interpret the story of the Loch Ard. The Loch Ard collection is archaeologically significant as the remains of a large international passenger and cargo ship. The Loch Ard collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The shipwreck is one of the worst, and best-known, shipwrecks in Victoria’s history.Bottle, black glass wine bottle with contents. Glass has ripples, and crease lines and the neck has side seams. The mouth has a seal, the top of which comes away from the rest of the seal. The applied lip is wide. The base has been pushed-up base and has a pontil mark. Handmade with a ridge in the body around the base of the shoulder. The contents have no colour or odour. The bottle has a white sticker.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, black glass, black bottle

This spoon, made by Henry Barnascone of Sheffield, was recovered from an unknown shipwreck in the coastal waters of Victoria in the late 1960s to early 1970s. The spoon is one-o-a-kind in our Flagstaff Hill Maritime Village Collection of shipwreck artefacts. It is possibly from a passenger’s luggage on one of the shipwrecks. The shipwrecks in the area range from around the 1840s to the early 1930s. It is part of the John Chance Collection. HENRY BARNASCONE & SONS, Sheffield, UK- Henry Barnascone (1827-1894) was born in Switzerland. He and his brother Lewis settled in Sheffield in 1851. Henry operated as Henry Barnascone from 1868 to 1883, trading in Angel Street as a cutler, manufacturer and general merchant, moving to York Street in 1874. His work included electroplating metalware. Products ranged from cutlery and serving trays to straight razors, measuring tapes and pocket knives. In 1884 his firm became H. Barnascone & Son and from 1901 to 1934 be firm was renamed H. Barnascone & Sons, with his son (or nephew) Charles Henry ‘Harry’ Barnascone brought in to join the business. The firm employed eight men and four women in 1881. Around 1892 the firm moved to Empire Works in Eyre Street. Charles (Harry) inherited the business when Henry died in 1894. In 1909 the company became ‘Ltd.’, with Charles continuing until his death in 1917. The firms trademarks were EMPIRE (with ‘trefoil’ or ‘clover’ symbol), THE HUNGRY WOLF BRAND and PROLIFIC. The firm was liquidated in 1934 and acquired by Harrison Fisher & Co. Ltd., which specialised in plated goods and silverware, and retained Barnascone’s trademarks. In the early 1990s Harrison Fisher, which employed about 200, was arguably the only surviving example of the type of firm that had flourished in nineteenth century Sheffield – one which marketed a full range of cutlery. It remained family-owned. In 2007 Harrison Fisher & Co. Ltd. was renamed Taylor’s Eye Witness Ltd, which, in 2016, ‘swapped’ the nineteenth century historic factory for a new industrial unit in Sheffield. Although the spoon is not linked to a particular shipwreck, it is recognised as being historically significant as an example of hardware either as part of the ship’s flatware service or imported for use in Colonial Victoria in the 19th to early 20th century. The spoon is significant for being Flagstaff Hill’s only shipwreck artefact amongst many hundreds of objects, including cutlery, to be branded with ‘Empire Silver’ and the only piece in our collection by Sheffield manufacturer Henry Barnascone. The spoon is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Spoon; teaspoon, electroplate nickel-silver, silver discoloured to brown. Fiddle design. Five embossed Hallmarks. Five embossed Maker’s Marks on back of handle, arranged in a column from tip towards bowl. Made by William Page and Co., Birmingham. The spoon no longer has its silver plating. Bowl has a cut in the side, and is nicked and dented. Embossed “EMPIRE“ (trefoil or clover logo) “SILVER” flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, henry barnascone, sheffield, cutlery, eating utensils, electroplate, silver plate, silverware, flatware, empire works, prolific, hungry wolf brand, antique flatware, old english flatware pattern, spoon, teaspoon

This electroplated teaspoon made by Walker & Hall of Sheffield. It was recovered from an unknown shipwreck in the coastal waters of Victoria in the late 1960s to early 1970s. The shipwrecks in the area range from around the 1840s to the early 1930s. It is part of the John Chance Collection. Walker & Hall’s Marks on this teaspoon, the SHIELD and the FLAG, date the spoon between 1910 and before 1920. The letters, possibly N S, within a shield may stand for Nickel Silver. The first Sheffield licence to make electroplated pieces of work was granted to John Harrison in 1843. One of his employees, George Walker, had been sent to learn electroplating skills at Elkington’s in Birmingham, who had patented the process discovered by Dr John Wright. Walker left Harrison in 1845 and started up his own company with Samuel Coulson and William Robson, to become George Walker & Co., electro-platers and gilders, taking out a licence with Elkington’s. In 1848 Robson retired and Henry Hall joined the partnership, operating at Electro Works at 11 Howard Street Sheffield, with a showroom in at 45 Holborn Viaduct, London. The firm had changes in the partnership and by 1853 it was called Walker & Hall. Over the years the company grew, with branches in the UK and overseas in Australia and South Africa. Then John Bingham, and later his brother Charles Bingham, became involved in the business, increasing profits. In 1861 the firm registered its first Trademark, a stamped ‘Flag’ with a banner with letters ‘W & H’. In 1884 Walker & Hall were one of the largest manufacturers and the second to introduce a voluntary system of using dating marks for silver plate, based on the alphabet and styles of shields or figures. The firm grew and prospered. It was described as ‘comprehensive … touching almost every department of Social life’, selling all manner of silverware and other goods. In 1920 the firm became Walker & Hall Limited and continued to expand in the goods produced and the member employed. Then the effects of war brought economic depression and fewer people able to afford the quality luxury goods. Eventually, in 1963, the company amalgamated with Mappin & Webb and Elkington & Co., becoming British Silverware Ltd. Although the spoon is not linked to a particular shipwreck, it is recognised as being historically significant as an example of cutlery, perhaps part of a passenger’s luggage or imported for use in Victoria in the early 20th century. This spoon is significant for its association with makers Walker & Hall, famous for silverware and silver plate in the mid-19th to early-20th century. It is the only example in Flagstaff Hill’s shipwreck artefact collection. The spoon is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Spoon, teaspoon, electroplated, silver-bronze colour with dark flecks. Old English design. Maker’s Marks on back of spoon. Made by Walker & Hall, Sheffield.Embossed individual stamps “W”, “&”, “H”, “S” Embossed shape [SHIELD] with letters within, possibly “N S” Embossed shape of [FLAG] with letters with “W & H” flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, sheffield, cutlery, eating utensils, electroplate, silver plate, silverware, flatware, antique flatware, old english flatware pattern, spoon, teaspoon, silver flatware, dining, silver plated, epnns, 20th century silverware, walker & hall, george walker, henry hall, john wright, elkington

A document that was part of a folder about the running of the President's Fund, that was created in 1932 "to help temporarily embarrassed Melbourne Legatees" towards the end of The Great Depression. The aim of the fund was the give the President a way to help needy cases with discretion and without having to gain approval from committees. In many cases the money was repaid by the recipient. The document summarises the history of a fund that allowed President's to make discretionary payments to worthy causes without need to have it approved. It mentions that original and official papers about the fund have been lost so this was an attempt to record what was known. The fund was credited to the late Legatee Walter Berry of the domestic and building supplies firm, Henry Berry and Co. wth money from his late father's estate. An initial fund of £200 (?) was handed to the president with some of the following terms: 1) the funds existence was not to be published or made known, except from President to President 2) money could be loaned or granted in sums as determined by the President of the day, for the preservation of the independence of the recipient 3) The club treasurer must keep the money in a separate account 4) The only persons to be helped must be members of Legacy but no restriction on the reason (business or personal) 5) At the end of the presidential term records handed over may be 'closed' except the ones that loans were involved and the terms of the loans could be disclosed. It is known annual donations of up to £1,000 to Legacy were received from the Howard and Georgina Berry Trust for use in the Fund. See also item 01520 for another summary of the fund's history. Other pages show copies of the original letter, dated 24 February 1933, acknowledging receipt of £50 from the Howard and Georgina Berry Trust Fund to start the President's Fund with agreed terms of use. Also a proposal about payment structure outlined on 14 December 1966 by Legatee RS Isherwood, President and accepted by the Board of Management. Plus an extract of the minutes of the meeting. The folder and document were marked with H40 which is part of an early archive project from the late 1960s and early 1970s.A record of the President's fund which was a fund that allowed the President to help fellow legatees with discretion.White foolscap paper with black type x 5 pages with a summary of the history of the President's Fund.Handwritten 'Box 1 H40' in blue pen.financial help, presidents fund, walter berry

This tablespoon was recovered from an unknown shipwreck in the coastal waters of Victoria in the late 1960s to early 1970s. The shipwrecks in the area range from around the 1840s to the early 1930s, and this particular spoon dates from about 1866 to 1932. It is part of the John Chance Collection. This spoon has the embossed names of Pompton and Silver and appears to have other marks that have worn off. The Pompton brand was used on silver flatware made by Cooper Brothers & Sons. Ltd of Sheffield. In Australia the Pompton Silver cutlery was advertised for sale in Sydney in the mid-1920s. The spoon is likely to be plated silver or silver plate, which is a base metal such as nickel or nickel alloy with copper and/or zinc that has been plated or coated with a thin layer of silver. Wear on the metal will cause the base metals to appear through the silver plating. Some manufacturers gave a warranty that the cutlery was ‘white throughout’ but didn’t necessarily say it was solid silver. Cooper Brothers was established in 1866 by brothers Thomas and John William Cooper in High Street, Sheffield. They bought Don Plate Works in 1872. By 1876 they were at Bridge Street and in 1885 they purchased the works at 44 Arundel St Sheffield. In 1895 the firm became Cooper Brothers & Sons Ltd. By 1914 they had branches in London, Sydney, Melbourne and Montreal, advertising as silversmiths, silver cutlers, electroplaters, Britannia Metal smiths and cutlers, particularly spoons and forks. The firm also used the trademarks of DON SILVER, POMPTON SILVER and a logo of a Cooper (barrel maker) in different formats. Cooper Brothers & Sons had a reputation for producing good quality silver and silver plate. In 1900 they registered their Maker’s Mark of the letters ‘CB&s’ within a shield. They also used the Sheffield Assay Hallmark of a Crown. A diagram on a Copper Brothers & Sons, Don Plate Works, advertisement showed three styles of cutlery; No. 393, Old English, and Fiddle. They announced that they were the ‘sole makers of the celebrated “Don” brand of nickel silver spoons and forks’. A burglary in NSW in 1929 listed a stolen flatware set as ‘all Sheffield Silver plate and branded Pompton Silver Works A.1.’. It was ‘guaranteed to wear white throughout’ and was a ‘good, medium quality, nickel silver line’. Cooper Brothers & Sons Ltd. was acquired in 1983 by Frank Cobb & Co. Ltd. Although the spoon is not linked to a particular shipwreck, it is recognised as being historically significant as an example of cutlery either as part of the ship’s flatware service or imported for use in Colonial Victoria in the 19th to early 20th century. The spoon is significant for its association with renowned makers Cooper Brothers of Sheffield, makers of silverware from the 1860s to the 1980s and exporters into the Colonies. The spoon is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Spoon; plated silver tablespoon with brown base metal. Handle is Old English design and is embossed - some marks are worn and unidentifiable. Branded Pompton Silver.Embossed within two rectangular shapes “POMPTON” and “SILVER” (other marks have worn off)flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, cutlery, flatware silver, silver plate, antique flatware, old english flatware pattern, eating utensils, spoon, tablespoon, silverware, dining utensil, cooper brothers, don plate works, pompton silver, sheffield silver

Lucelle Hats advertised itself from the late 1940s to the 1960s as a high-class millinery business situated at 80 Castlereigh Street, Sydney. The style of the hat conforms to the generally smaller and flatter styles promoted as fashionable in 1950s periodicals. Interestingly velvet and felt hats were by the mid-1950s being advertised as suited to mature women. As the wearing of hats became more infrequent in the post-war period, this was the demographic that remained committed to wearing hats.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Woman’s half hat constructed of bands of olive green and darker green felt ending with a loose bow at the rear.Label: Lucelle Hats. 80 Castlereagh St. Sydney. Phone: BW 7555lucelle hats, milliners - sydney (nsw), hats, women's clothing accessories, australian fashion - 1950s