35mm Kodak white cardboard colour slide by Keith Kings of - W5 727 at South Melbourne depot for a TMSV Tour, with the centre doorway removed and panelled over. Tram showing Special.Keith Kings stamp and number "58-9", with details of exposure. in ink "MMTB South Melbourne depot for TMSV Tour, W5 727 modified with narrow middle doorway, doorway deleted and panelled over and glazed."trams, tramways, w5 class, tours, tmsv, south melbourne depot, tram 727

Text panel produced by Elders to accompany display of coat. In 1928 Mr Mal Groves took over the Dutchman Station near Port Augusta in South Australia. Whilst out riding in some rough country he came across a sheep that had been left by the previous owner of the station. As he carried shears with him, he sheared the sheep and left the fleece rolled up and partially covered by rocks and wood, as he had no bag to carry it back with him. He intended to come back for the fleece, but forgot about it until he came across it some forty years later. It was still in good condition (despite having experienced extreme temperatures and rainfall whilst in the open), so he showed it to Elders who arranged to display it at agricultural shows in Adelaide, Melbourne and Geelong. The Gordon Institute of Technology, Geelong, offered to spin the fleece into a fabric and make a coat for Mrs Groves. The fabric was tailored into a coat by Lindsay and McKenzie of Geelong and presented to Mrs Groves in July 1968 by the SA manager of Elder Smith Goldsbrough Mort Ltd. It is not know how the coat came to Elders from the Groves family, but Elders displayed the coat under the heading "The Fleece That Would Not Die" before donating it to the National Wool Museum in 1997. A video giving the history of the coat as well as this text panel used by Elders were also donated at the same time.Text panel with black and red text on cream paper, framed in wooden frame and glass, with hanging wire.shearing, elders limited, groves, mr mal groves, dutchman station, south australia

Report of a panel pursuant to Section 153 of the Planning and Environment Act regarding the property at 629 Canterbury Road, Surrey Hills - an Edwardian two story red-brick butchers' shop built in 1897 for the Tacey family.Report of a panel pursuant to Section 153 of the Planning and Environment Act regarding the property at 629 Canterbury Road, Surrey Hills - an Edwardian two story red-brick butchers' shop built in 1897 for the Tacey family.abermore pty ltd, heritage studies, tacey family butchers, surrey hills, canterbury road, (ms) natica schmeder, sherry james, jo james, (mr) mark marsden, (mr) bryce raworth, 2011, 1897

Standing: Florence May Shillinglaw (1886-1969), Elizabeth (Lizzie) Ann Shillinglaw (1879-1972), Mary Ann Shillinglaw (1880-1963), Ada Maria Shillinglaw (1889-1974), Caroline (Carrie) Shillinglaw (1876-1956), Ernest Samuel Shillinglaw (1888-1958) Seated: Jean Shillinglaw (nee Blemner 1819-1906), Phillip Shillinglaw (1842-1914) Nicholes Photographer, Alphington According to the Sands McDougall Melbourne Directory, George. Nicholes, Photographer was first listed on the north side of Heidelberg Road, Alphington in 1904 and again in 1905. By 1906 he was still listed but with no profession. From 1907 on he was listed as a bicycle agent. PANEL 1875-1920 Panels began to be produced around 1875, and were particularly suited, because of their larger size, for capturing family, or even larger, groups. They measured 8.5 by 6.5 inches (22 cm x 16.5 cm). - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, 1905, 1904-1905, ada maria chrisfield (nee shillinglaw) 1889-1974, ada maria shillinglaw (1889-1974), caroline (carrie) watson (nee shillinglaw) 1876-1956, elizabeth (lizzie) ann shillinglaw (1879-1972), ernest samuel shillinglaw (1888-1958), florence may bunker (nee shillinglaw) (1886-1969), jean shillinglaw (nee blemner 1819-1906), mary ann shillinglaw (1880-1963), nicholes photographer alphington, phillip shillinglaw (1842-1914)

This is one of eight embroidered panels, completed during the 1988 Australian Bi-Centennial, and carried out under the auspices of City of Kew Council and the Kew Historical Society. Nearly 600 residents, including many children, participated in their production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart / Co-ordinator: Dorothy Benyei.1. Turinville. A framed embroidery created by adults and children of the City of Kew as a Bicentennial project, based on a design by the artist Joy Stewart. Five of the six completed embroideries created in the project are/were displayed in the Kew Library. [The five embroidered panels have now been temporarily removed for conservation reasons].Inscription: "TURINVILLE / Early country residence overlooking the Yarra River. Recreational activities of the period included picnics" Embroidered signature of the artist: "(c) JStewart, 1988"bicentennial project (kew), joy stewart, charles grimes expedition, australian bicentennial

This private late-nineteenth-century four-wheeled carriage has been built to transport a family or group of passengers with a coachman in the front seat. It can be pulled by one horse, or by two horses if the T-pole is attached. The button fittings along each side of the carriage indicate that a folding roof or hood was once attached. The frame across the front of the carriagewas likely to have been a ‘dashboard’ with a leather or wood covering to prevent water, mud and other particles from splashing onto the passengers. The rear step between the two side-facing bench seats is adjustable to allow for ladies’ long skirts. These rear seats appear to be removable, in which case the carriage could be converted to a wagon to transport goods and equipment. The carriage could have been illuminated by oil or carbide lamps placed into the lamp holders on the sides. The carriage was kept under cover for many years in an open-front sandstone building that also included living quarters and an area that may have been stable. It was at ‘Murweh’ a Warrnambool property at 203 Liebig Street. The home is now Heritage and National Trust Listed and described as a ‘gentleman’s residence’. It was built by James Wotton Shevill in the 1860s. Shevill was a councillor from 1875 to 1878, serving in 1878 as Mayor of the Borough of Warrnambool. Jeremiah Wade lived at Murweh there from 1879-1880. By 1915 F.B. Whitehead and his family were living there, and by 1930 the address was used by Mr T.J. Rome and his family. Thomas James Rome was still using that address in September 1973 after his 100th birthday. It is believed that one of the property’s owners had been an Obstetrician in Warrnambool. The current owner re-told the story that children used to hide in the back section of the carriage and smoke, hidden from the sight of onlookers. He had heard the story from a previous owner.The well-appointed horse-drawn four-wheeled carriage is likely to have first belonged to a local councillor and past Mayor of the town of Warrnambool, J.W. Shervill, whose 1860s city property was the carriage location for many years. The carriage is a rare local example of a town-based lifestyle befitting a prosperous personality of the late 19th century. It adds to the story of Warrnambool's development as a town influenced by the port, wealth gained from shipping and the home place of prominent local people such as the Councillor and later Mayor. The side-facing rear seating is unusual for a passenger carriage. It has the feature of removable rear bench seats, allowing for the dual purpose of a carriage or wagon.Carriage; the Victorian-era horse-drawn four-wheeled open carriage has a coachman’s bench seat across the front and two side-facing bench seats in the rear. There are steps at the front on each side and a centre adjustable step and the back. It has a hinged shaft, two lamp holders and a separate T-pole. The bench seats have padded backrests upholstered in green leather and each has padded armrests at the ends. A rectangular metal frame, likely to have been a dashboard, is mounted across the front of the carriage. It has two inner vertical bars. The carriage's body is painted dark green with crimson highlights on some of the panelling. Decorative oval panels with hand-painted motifs are mounted along the sides. The side panels of the carriage have metal fastener buttons attached. The iron-rimmed wheels have sixteen wooden spokes and copper cuffs on the outside of the hubs, and the rear wheels are higher than the front wheels. Wooden brake blocks are mounted onto the back wheels and are active by a metal lever at the front right side of the carriage. The undercarriage is fitted with leaf springs on each side, mounted from front to back axles. Included are: (1) The separate T-pole that allows two horses to be harnessed to the carriage (2) Leather horse winkers with metal hardware and oval brass plate on the side of each winkerMotif painted on an oval panel [a musical lyre within a blue floral wreath flanked by scrolls] flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, murweh, buggy, cart, carriage, wagon, horse-drawn vehicle, victorian buggy, four-wheeled carriage, coachman’s seat, bench seat, side-facing benches, upholstered seats, victorian decals, heritage vehicle decoration, antique hand painting, hand painted decals, motifs, iron-rimmed wheels, wooden brake blocks, leaf springs, t-pole shaft, rear step, equine carriage, 19th century vehicle, victorian transport, transport, gentleman’s vehicle, james wotton shevill, councillor, mayor, jeremiah wade, f.b. whitehead, thomas james rome, warrnambool obstruction, warrnambool genealogy, warrnambool pioneers, victorian carriage, one horse carriage, two horse carriage, horse drawn carriage

This Baby's long white Christening gown is made from fine muslin, with short sleeves and cut-work and pin tucked front panels The women of the early settler families were very skilled dressmakers and made the clothes for their families. The early settler families followed the religious rites of their Christian Church and this Baby's Christening gown shows the dressmaking skills of the pioneer women of Moorabbin Shire c1900 , A Baby's Christening gown of fine white muslin with cut-work and needlework on yoke, gathered skirt and short sleeves with a draw string waist and neck . The front panel has 5 sections of pin tucks and cut work . clothing, christening gown, methodist church, church of england, brighton, moorabbin, pioneers, dressmaking, lacework, cutwork, market gardeners, early settlers, craftwork , bentleigh, , moorabbin shire blackburn nance, dairy farms, fruit orchards

St George's Church of England held services in Mavho Street, Bentleigh from 1926 to 1984. A new Church was built in 1955. In 1996 the church property was divided into two lots. On one lot was the church which was converted into apartments. The other lot had the old timber church and the vicarage.Example of the progress of the Municipality of MoorabbinTwo pages of architectual designs for the building of the proposed vicarage St George's Church of England Church in Mavho Street, BentleighArchitectural drawings by The Designers Panelst george's church of england, bentleigh, vicarage, plans, religion

This is one of eight embroidered panels, completed during the 1988 Australian Bi-Centennial, and carried out under the auspices of City of Kew Council and the Kew Historical Society. Nearly 600 residents, including many children, participated in their production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart / Co-ordinator: Dorothy Benyei.1. Survey Team. A framed embroidery created by adults and children of the City of Kew as a Bicentennial project, based on a design by the artist Joy Stewart. Five of the six completed embroideries created in the project are/were displayed in the Kew Library. [The five embroidered panels have now been temporarily removed for conservation reasons].Inscription: "SURVEY TEAM 8th February 1803 / Grimes, Flemming, Robbins and McCallum explored the river (Yarra) to the falls (Dights), sighting several friendly Aborigines, and were the first Europeans to set foot in the area now known as Kew." Embroidered signature of the artist: "(c) JStewart, 1988"bicentennial project (kew), joy stewart, charles grimes expedition, australian bicentennial

Eva Fisher was a valued member of the AFB and wished to commission a sculpture for the grounds in the front of Paterson Hall. Noted sculptor Ian Bow was commissioned and created Urban Cycle, a seven panel metal sculpture that follows the development of the local area. Prior to receiving the commission, Ian Bow went through a period of temporary vision loss, which gave him insight into how the sculpture could be appreciated by the blind and low vision community. The different stages are: Harmony - Two pelicans amongst reeds. Intrusion - Frog, kookaburra, mice, fish, lizard and butterfly. Expansion - Doors, windows and roofs under tree canopies. Industry - A factory with large chimney blowing smoke. Density - Multiple boxes, some with figures inside, are crowded beneath a bridge and dome. Decay - Boxes with broken doors and unfinished concrete. Renewal - A church with a Calvary cross over roughened surface.Heptagonal cast aluminium sculpture with seven panels arranged around a central metal pole.Thanks to the generosity of Evangeline Annie Fisher this sculpture, entitled 'Urban Cycle', was created by Ian Bow in 1975 and depicts stages of development of a city through the use of tactile forms. Further information is available at Reception. Vision Australia. Blindness, Low Vision, Opportunity.association for the blind, eva fisher, ian bow, sculpture

Yields information about the appearance of Ripon St during the early 1960's and how it related to the View Point line.Black and white photograph of Ballarat No. 21 north bound to View Point in Ripon Street, early 1960's. Tram has the destination of View Point and a White Horse Whiskey advertisement on the front dash panel.On rear stamp "Photographed by J. Seletto" and in blue ink "Tree Line View Point Line 1968" (The date is post 1964 - after the large white stripe added to the driver's dash panels of all Ballarat trams.)tramways, trams, view point, ripon st, tram 21

Yields information about the appearance of Wendouree Parade during the early 1960's and how it related to the View Point line.Black and white photograph of Ballarat No. 21 north bound to View Point in Wendouree Parade, early 1960's. Tram has the destination of View Point and a White Horse Whiskey advertisement on the front dash panel.On rear stamp "Photographed by J. Seletto" and in blue ink "S Truck 21 View Point Line 1968" (The date is post 1964 - after the large white stripe added to the driver's dash panels of all Ballarat trams.)tramways, trams, wendouree parade, view point, tram 21

This is one of eight embroidered panels, completed during the 1988 Australian Bi-Centennial, and carried out under the auspices of City of Kew Council and the Kew Historical Society. Nearly 600 residents, including many children, participated in their production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart / Co-ordinator: Dorothy Benyei.4. Boroondara Cemetery, established 1859. A framed embroidery created by adults and children of the City of Kew as a Bicentennial project, based on a design by the artist Joy Stewart. Five of the six completed embroideries created in the project are/were displayed in the Kew Library. [The five embroidered panels have now been temporarily removed for conservation reasons].Inscription: "BOROONDARA CEMETERY / Established 1859. Horse drawn trams from Victoria Bridge terminated at gates, bringing visitors to the graves of relatives and friends, and sightseers to view the impressive pioneer memorials." Embroidered signature of the artist: "(c) JStewart, 1988"bicentennial project (kew), joy stewart, boroondara general (kew) cemetery, australian bicentennial

This is one of eight embroidered panels, completed during the 1988 Australian Bi-Centennial, and carried out under the auspices of City of Kew Council and the Kew Historical Society. Nearly 600 residents, including many children, participated in their production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart / Co-ordinator: Dorothy Benyei.8. Kew. City of Parks and Gardens. A framed embroidery created by adults and children of the City of Kew as a Bicentennial project, based on a design by the artist Joy Stewart. Five of the six completed embroideries created in the project are/were displayed in the Kew Library. [The five embroidered panels have now been temporarily removed for conservation reasons].Inscription: "KEW: City of Parks and Gardens / Proclaimed a Municipality December 1860 / Created a Borough 1st October 1863 / Gazetted a Town 14th December 1910 / Declared a City 9th March 1921." Embroidered signature of the artist: "(c) JStewart, 1988"bicentennial project (kew), joy stewart, charles grimes expedition, australian bicentennial

This is one of eight embroidered panels, completed during the 1988 Australian Bi-Centennial, and carried out under the auspices of City of Kew Council and the Kew Historical Society. Nearly 600 residents, including many children, participated in their production by adding a few or more stitches. A book records their names and the panels upon which they worked. Artist: Joy Stewart / Co-ordinator: Dorothy Benyei.3. East Kew State School. A framed embroidery created by adults and children of the City of Kew as a Bicentennial project, based on a design by the artist Joy Stewart. Five of the six completed embroideries created in the project are/were displayed in the Kew Library. [The five embroidered panels have now been temporarily removed for conservation reasons].Inscription: "EAST KEW STATE SCHOOL / Typical country school attended by children from surrounding farms and market gardens." Embroidered signature of the artist: "(c) JStewart, 1988"bicentennial project (kew), joy stewart, charles grimes expedition, australian bicentennial

This chair belonged to Dr Zacharin from 1970 until he donated it to the College in 2009. Its origins prior to this time are uncertain.Gynaecological examination chair, metal painted white, with two detachable metal stirrups with a back panel, seat panel and leg panel. The leg panel can be adjusted upwards to make a table. The back panel has an upright and two reclining positions. The seat panel has a side mechanism that makes the panel tilt backwards, so that a patient can be positioned head downwards with legs upwardsobstetrics

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8134.1 - The shirt is coloured with stripes of olive green and cream. There are several panels on the shirt, majority of the panels have the stripes running vertically but two panels over the left breast have the stripes running horizontally. Over the horizontal stripes is the Australian emblem with the Olympic rings and "Barcelona 1992," underneath. On the reverse of the shirt there is only one panel and the stripes all run vertically. Along the shoulders of the reverse of the shirt are four velcro dots from the object being previously displayed. 8134.2 - The shirt is coloured with stripes of olive green and cream. There are several panels on the shirt, majority of the panels have the stripes running vertically but two panels over the left breast have the stripes running horizontally. Over the horizontal stripes is the Australian emblem with the Olympic rings and "Barcelona 1992," underneath. On the reverse of the shirt there is only one panel and the stripes all run vertically.8134.1 - BARCELONA 1992 8134.2 - BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

Early model A4 single pen computer controlled digital plotter. Cream coloured plastic outer case with clear tinted hinged plastic cover over pen compartment. On the back panel various inscription panels indicating it is a Hewlett Packard machine Model 7470A Serial No. 2210A 12562.drafting, computers, digital

Rectangular box with glass panel at face. Coin slot in top panel.Royal Children's Hospital. Help the sick children of Victoria.

This research project is on The Shrine in the Surrey Hills Gardens. It contains a list of those who had enlisted during World War 1, and how it came about to be the first monument of World War 1. Details of the man who carved the wood panels are included.This research project is on The Shrine in the Surrey Hills Gardens. It contains a list of those who had enlisted during World War 1, and how it came about to be the first monument of World War 1. Details of the man who carved the wood panels are included.monuments and memorials, (mr) john kendrick blogg, (mr) john gawler, community gardens, awards, armed forces, centenary methodist church, st.stephen's presbyterian church, "balmoral", house names, (mr) harry 'mafeking' garrett, (mr) arthur (empire) brooks, (mr) james ('rule britannia') sneddon, surrey hills, empire day, church furniture, t f crabb, (mr) walter drummond, surrey hills progress association, (mr) j f woodhead, (mrs) - steele, (mrs) robyn doble

Embroidered silk, with a swirl type embroidered pattern. Wide, and deep square neckline. Back opening with nine metal hook and eye fasteners. Seven 16cm long bones encased in ribbon - three in the front, and two either side of the back opening. The wide square neckline is edged with 4.5cm wide fine lace - (two narrower pieces stitched together). Five .5cm wide tucks border the front and back neckline. The sheer embroidered tulle sleeves have a silk panel under arm. Shoulders and sleeve cuff are trimmed with a feature of artificial roses and leaves - roses 2.5cm diameter. A 17cm frill extends from the back opening, passing under the armhole, across the tucked border at the neckline to the back opening of the left side. This frill is also trimmed with the artificial roses at 10cm intervals. The bands of lace that trim the neckline also border this frill. Stiffened circular shaped shields are stitched under the armhole, and on the adjoining under arm of the sleeve. Pink chenille type tufts interspersed on embroidered silk overlay. PART 0F WEDDING OUTFIT 11400.781; 782On the lining panels of the left sleeve is marked FLIRT, Made in U.S.A. 1 2 2.costume, female, cream silk wedding bodice

John Kendrick Blogg was born in Canada and migrated to Victoria in 1877. In 1884 he established a successful industrial chemistry business, which included extracting perfume from Australian native trees and plants.liquid ammonia for refrigeration, acetic acid, perfumes, shoe polish, baking powder and non-alcoholic drinks. Other products were He lived at 'Balmoral' in Albany Crescent, Surrey Hills; his woodwork was produced here. Family oral history has that he took up woodcarving after his 1st wife, Annie, died in 1893. His earliest known piece is a music cabinet of 1901; the latest is a panel of 1932 when Blogg was 81 years of age. He was a member of the Victorian Artists Society and exhibited there between 1920 and 1924. Much of his work incorporates motifs of Australian flora, particularly gum leaves. John and his family were members of St Stephen's Presbyterian Church, Surrey Hills. The present church building was dedicated in December 1910 and J K Blogg's contribution to the new building was the Hogg Memorial pulpit which is comprised of 13 panels. Blogg carved more than 300 pieces for churches, schools, royalty, family and friends. Many of J K Blogg's pieces remain with family members, but he is represented in municipal (City of Whitehorse), state and national collections. In addition to work in the St Stephen's Presbyterian Church within the Surrey Hills area his work was produced for Surrey Hills Primary School, Surrey Hills Bowling Club and Surrey Hills Methodist Church, however perhaps his most famous local work is the honour board at the Shrine in the Surrey Gardens. Blogg was also a poet. Ref: Legacy in Sculptured Wood - An appreciation of the work of John Kendrick Blogg, 1851-1936 by Marjorie Morgan, 1993.Colour photo of the some of the 13 panels forming the pulpit at St Stephen's Presbyterian Church in Canterbury Road, Surrey Hills.st stephens presbyterian church, churches, hogg memorial pulpit, woodcarving, church furniture, john kendrick blogg, john blogg

Object. Rich royal blue grosgrain braid, 10 cms wide surrounds a rectangle of cream kid leather, 21 cm wide x 24 cms deep. On this rectangle is an embroidered wreath of foliage in gold and orange coloured thread, embellished with gold metal thread, which also outlines an embroidered bow, at the base of the wreath. In the centre of the wreath, a looped bow is embroidered in thread, and embellished with the gold metal thread. Two gold coloured metal decorative shapes are placed, one on each side of the lower edge of the leather. Two 5 cm wide tabs, adorned with a heavy lodge symbol, including 4 cm long brass metal chain, with ball decorative elements, hang from the waist, and fall to 3/4 length of the leather panel. A peaked flap 9 cm deep is attached from the waistband, and falls loosely over the leather panel. It is also adorned with a brass metal lodge symbol. Black elastic, 3 cm wide attaches at right hand side of waistband, and fastens into an oval metal loop at left hand side.Label on underside of front Vshaped panel 110 years of Service, P.Blashki & Sons 109-113 Swanson Street Melbourne,(and includes Lodge Symbol)organisation, masonic lodge, lodge regalia apron

The fire screen was part of the original furnishings of the Lighthouse Keeper's Quarters in Merri Street, Warrnambool. It was made by Lighthouse Keeper, Thomas Hope. Thomas served two terms as an assistant lighthouse keeper in Warrnambool. His first term was from 1905 to 1907. He later returned from 1910 to 1913, when he was appointed as Keeper five months after the untimely death of his predecessor Peter Quinn. Woodworking was one of Thomas Hope’s hobbies, and the three-panel fire screen he made as a lighthouse keeper is now in the Flagstaff collection and is displayed in the Lighthouse Keeper’s Cottage. Thomas Hope 1857 - 1928 Thomas James Hope was born in Camden, Surrey, England in 1857. His father, also called Thomas, was reputed to be a member of the Royal Family, and Thomas Hope Junior his illegitimate son. Thomas was subsequently brought up on the estate of the Earl of Hopetoun in Somerset and it was thought that Thomas was the Earl’s grandson. Against the wishes of those in charge of Thomas, he joined the navy at an early age, seeing much of the world until he settled in New Zealand at the age of twenty-four. After some years in New Zealand, he came to Australia to live. One of the jobs Thomas Hope had prior to becoming an assistant lighthouse keeper in 1896 was as a cook in the Lunatic Asylum at Sunbury, Victoria. He served as an assistant keeper at Shortlands Bluff, Gabo Island, Split Point and Warrnambool, retiring in 1918. He bought a house in Nicholson St, Warrnambool and died in March 1928. He is buried in the Warrnambool cemetery. Thomas Hope is recorded in family history as being of short stature and, not surprisingly given his alleged aristocratic connections, possessed a beautiful speaking voice. He and his wife Elizabeth nee Waters, whom he married in New Zealand, had six children (Thomas, killed in World War One), Ellen (Nell), Nora (who was married at the Warrnambool lighthouse keepers cottage), William (who died in Warrnambool), Marion and Alan. Joseph Hoover (Dec 29, 1830, to Aug 7, 1913) Joseph Hoover, the printer of the pictures on the screen, was born in Baltimore, of Swiss-German heritage. He was trained as an architectural woodturner. In 1856 Hoover moved to Philadelphia and began producing elaborate wooden frames in his wood-turning and framing business. By 1865 Hoover had started to produce popular prints for publishers and artists, which included noted Philadelphia artist James F. Queen. In the 1880s Hoover set up a complete plant specialising in chromatography, the process of producing colour prints from lithographic plates. The coloured prints he produced were affordable to business and private customers. In 1893 his son Henry L., a trained lithographer, joined the company as overseer and it was called J. Hoover & Son. It became one of the largest in America by the turn of the century. Hoover won a medal for Excellence for his Chromolithographs of James Queen’s works. In 1904 Joseph’s other son, Joseph W, joined the business as a partner and the company was called Jos. Hoover & Sons. Hoover died of a heart attack in 1913. He was survived by his wife and six children: two sons who were also his business partners, and four daughters. The firm continued in production until around 1985. Hoover’s prints included scenes, still life and landscapes of America and other locations. They were sold in America and overseas to countries including Canada, Germany, Mexico and England. The three-panelled screen in the Lighthouse Keeper’s Cottage was made by the Assistant Lighthouse Keeper, Thomas Hope during one of his two terms at the Lighthouse Keepers' Quarters. It is the only object in the collection known to be connected to Hope. The Lighthouse Keeper's Cottage is part of the Lady Bay Lighthouse Complex, which is listed on the Victorian Heritage Register for being of historical, scientific (technological) and architectural significance to the State of Victoria.Fire screen comprising three black wood framed panels hinged together. Each panel contains a glass-encased print depicting a rural landscape. Ornate stencil cut wood edging and quilt-inspired parquetry sits above each panel. The central panel is taller than those either side. Screen is lined in black-painted cardboard.Printed at the base of each of the three prints “COPYRIGHT 1896 BY J. HOOVER & SON, PHILAD’’A.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, firescreen, thomas hope junior, ellen (nell) hope, nora hope, william hope, marion hope, alan hope, jos. hoover & sons of philadelphia, lighthouse keeper, assistant lighthouse keeper, carved screen, merri street, lighthouse keeper's cottage, lighthouse residence, lighthouse, wood carving, lighthouse complex, lady bay lighthouse, fire screen

Standing L-R: Phillip Shillinglaw, Elizabeth Docherty (nee Shillinglaw), John Docherty, Florence May Bunker (nee Shillinglaw), possibly Alice Balmira Aldous, Ernest Samuel Shillinglaw Kneeling: Caroline (Carrie) Watson (nee Shillinglaw), Mary Ann Shillinglaw Seated: Ann Shillinglaw with possibly Phillip Alan Bunker on knee, Elizabeth (Lizzie) Ann Shillinglaw and possibly Edward Ernest Bunker, possibly Ethel Vera Aldous (in front), either Sarah Aldous or Caroline Shillinglaw, Ada Maria Shillinglaw with possibly Ethel Myra Bunker The date on the back in very feint pencil appears to be "Jany 1st 1909" Possible that the woman between Mary and Ada (clearly Phillip's sister) currently identified as Caroline Shillinglaw may actually be her elder sister Sarah Aldous nee Shillinglaw and that the girl behind her is her youngest daughter Ethel Vera Aldous who would have been 11 at the time. Or it could be Alice Balmira Aldous who was 14 at the time and Ethel Vera is the girl lying in front. The other possibility is that the date is not 1909 and the three youngest are all Bunker children. PANEL 1875-1920 Panels began to be produced around 1875, and were particularly suited, because of their larger size, for capturing family, or even larger, groups. They measured 8.5 by 6.5 inches (22 cm x 16.5 cm). - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, 1909, ada maria chrisfield (nee shillinglaw) 1889-1974, ada maria shillinglaw (1889-1974), alice balmira aldous poss, ann shillinglaw (1861-1940), caroline (carrie) watson (nee shillinglaw) 1876-1956, edward ernest bunker poss, elizabeth (lizzie) ann shillinglaw (1879-1972), elizabeth docherty (nee shillinglaw 1861-1942), ernest samuel shillinglaw (1888-1958), ethel myra bunker poss, ethel vera aldous poss, florence may bunker (nee shillinglaw) (1886-1969), john docherty, mary ann shillinglaw (1880-1963), phillip alan bunker poss, phillip shillinglaw (1842-1914), sarah aldous or caroline shillinglaw poss