The War Memorial was constructed in 1925 on Merri Street at the South side of Liebig St. It was constructed to commemorate the soldiers of WW1. It is constructed of red granite and the Angel is carved in marble. Adjacent to it is the RSL clubrooms.The Warrnambool War Memorial is a significant space commemorating a significant event and situated in one of the most prominent sites within the city. The image on this item would therefore be a typical memory which visitors would like to take from our city.White china saucer with gold rim and black print of the Warrnambool War Memorial. Soldiers Memorial Warrnambool. On rear Royal Stafford, guaranteed English Bone China. Made in England warrnambool, warrnambool war memorial

Original steel engraving by J.C Armytage after John SkinnerPROUT (1806 - 1876). Prout was born in Plymouth and was a member of the New Watercolour Society in London, he latter emigrated and lived for some time in Sydney and Hobart before returning to England. Published in "Australia... Illustrated with Drawings by Skinner Prout, N Chevalier, etc. by Edwin Carlton Booth F.R.C.I. (printed 1873-76) Virtue & Co., London, and as part work from about 1873. Steel Steel Engraved antique print some with marking to the margins. Image 12 x 18 cm. John Skinner Prout (1806 - 1876) was an architectural illustrator and painter. Born in Plymouth and nephew of Samuel Prout (Topographical illustrator, drawing master and colourist). John specialised in similar subjects to his uncle but was practically self-taught. He was elected a member of the New Watercolour Society on his return from Australia in 1849, where he visited Sydney and Hobart. He had already forfeited his membership of the NWS in 1838 by being overseas. John settled in Bristol after 1849 whewre he became a good friend of W.J. Muller (artist). He later moved to London where he died, at Camden Town on 29th August 1876Framed print of etching depicting four aboriginals one of which is climbing a treeprint, gwalior plains

Story of an early Wesleyan minister, Reverend James Robert Bradbury, the culmination of several years research from his shipboard diary and other writings, including Ringwood between 1924-1927. +Additional Keywords: Bradbury, James Robert (Reverend) / Bradbury, Ruth M.

Edward James Pardew died in 26/9/1927 aged 92. He came to Orbost from New Zealand in 1886 and selected 720 acres of hill land in the Brodribb area. He was a member of the first Orbost Shire Council. His daughter had a fruit & meat shop in McLeod Street. He was an inaugural vestryman of St James Church of England. One of the most prominent farmers on the Snowy was John Gilbert, a large landowner. His breeding establishment was at Tullagoota, about two and a half kilometres down the river from Orbost.Dairying in the Orbost district was once a mainstay of the farming community. Today the properties are fewer and smaller.Two black / white photographs of dairy herds. 3188.1 - on front - printed -"ORBOST EAST GIPPSLAND"; hand-written - :PARDEWS DAIRY & BARN" 3188.2 - on front - printed - " W. S. VOGT"; hand-written - "DAIRY HERD TALLAGOOTA< ORBOST"dairying-orbost agriculture-orbost pardew-dairy tallagoota-dairy

These scales were in the Dicken building in Nicholson Street Orbost. Frank B. Dicken and his son, Selwyn, were General Merchants. These scales are an example of a commercial measuring instrument used in Orbost before the common use of the metric system and digital scales.A large set of commercial scales painted white. The measuring scale gives the weight in pounds and the price per pound. There is a brass plate with NO A572/19951 W. & T. AVERY LTD.On front in green print - AVERY Beneath scale in green print - SOLE AGENTS On a brass plate - MACHINE ??????? "WHITE KNIGHT" AUSTRALASIAN FNO4 BRITISH MADE SCALE CO LTD TRULY LEVEL BIRMINGHAM ENGLANDscales measuring-machines weights dicken-frank

This organ in the Flagstaff Hill collection has a card under the hinged lid titled “The ‘Connoisseur’ Organ” and lists improvements, materials used in the components and directions for taking it apart; it is dated July 1883. Below this card is a printed label listing various Patents, dated; July 9th 1878 / Reissued December 10 1878 - plus September 10 1878 / April 15 1879 / October 28 1879. “The Smith American Organ Company was originally established by S.D. Smith and H.W. Smith as early as 1852. First known as the Smith American Organ Company, the firm was located in Boston and built high end parlour organs and melodeons. In the early 1880s the firm began building pianos and the name of the firm was changed to "The Smith American Organ & Piano Company". In 1889, the firm acquired The Regal Piano Company from the New England Piano Company, and the firm was known as "The Smith American Piano Company" by the 1890s. The Smith American Piano Company built and controlled the Regal Piano Company line until 1903. Many of the instruments by Smith American were also labelled as 'The Palace Of Music'. It appears that the Smith American firm went out of business in the first part of the 20th Century.” A significant item of musical memorabilia and regarded as a collectors item today. Reed organ (sometimes called a pump organ or melodeum). “Connoisseur “model, made by The Smith American Organ Company. Wooden piano-shaped musical instrument with carving and gold leaf decoration. Organ has keyboard, stops (16), shutters (10) above stop board, large foot pedals and a roll back keyboard cover. There is evidence of something being attached either side of the shutters (candle bracket?). Attached inside hinged lid are Directions and Patent information of The Smith American Organ Company, Boston MASS. USA. Label is dated July 1883. Lettering in gold across front of organ “CONNOISSEUR”, “SMITH AMERICAN - - -“ and “ORGAN - - M - - ANY”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, harmonium, organ, piano, musical instrument, music, entertainment, connoisseur organ, reed organ, parlour organ, smith american organ company

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

Fifteen year old Albert Edward Gill was born in Poplar, Middlesex, in 1868. He volunteered in May 1883 as an Apprentice Ordinary Seaman with the Merchant Services under the London shipping company James P. Corry & Co., owner of the Star Line. The shipping company by this time had a fleet of both clipper and steam cargo ships that sailed as far away as Australia and New Zealand. Gill’s apprenticeship was a four year unpaid term, with only his food, drink, lodgings, washing and medical needs provided for him. The contract had many conditions but it was a wonderful opportunity for a young man. His father James Gill signed the papers as his guarantor. In December 1887 Gill completed his apprenticeship and qualified as an Able Seaman. He served for another seven years with James P. Corry & Co. and earned his Certificate of Competency as a Master in the Merchant Service in April 1894, having passed the Ordinary Examination. (The transcription of Gill's two certificates is provided further down this page.) JAMES P. CORRY & CO. - The Belfast Company was formed in 1826 by Robert Corry, and imported timber from Canada to Ireland. In 1859 the company expanded to import timber from Calcutta, and relocated its offices to London. In the 1880s the company had a fleet of 13 tall clipper ships and included ports in Australia and New Zealand in its destinations. It continued to expand trade even further and by 1908 the Star Line had seven cargo steamers trading with the East and Far East (the ships were named Star of Australia, Star of Japan, Star of England, Star of New Zealand, Star of Ireland, Star of Scotland and Star of Victoria). In 1912 the Star Line ships added an emigrant service to Australia. TRANSCRIPTION OF CERTIFICATES - = = = = = = = = = = = = “Ordinary Apprentice’s Indenture” Transcribed:- (Printed form with printed logo of the Marine Department, Commonwealth Council for Trade. Sanctioned by the Board of Trade, May 1855. ) Registered at the Port of London, Sixteenth of May, 1883, and signed for the Registrar General. Stamped in blue ink “REGISTERED IN LONDON, MAY 16 1883” “RECORD OF THE REGISTER GENERAL OF SEAMEN” “This Indenture, made the SIXTEENTH day of MAY 1883 between ALBERT EDWARD GILL aged FIFTEEN years, a native of POPLAR, in the county of MIDDLESEX of the first part JAMES P. CORRY & CO. OF 9 & 11 FENCHURCH AVENUE in the CITY of LONDON of the second part, and JAMES GILL, of POPLAR, in the county of MIDDLESEX, of the third part, WITNESSETH, That the said ALBERT EDWARD GILL hereby voluntarily binds himself Apprentice unto the said JAMES P. CORRY & CO., his Executers, Administrators and Assigns, for the term of FOUR years from the date hereof; And the said Apprentice hereby covenants that, during such time, the said Apprentice will faithfully serve his said Master, his Executors, Administrators and Assigns, and obey his and their lawful commands, and keep his and their secrets, and will, when required, give to him and them true accounts of his or their goods and money which may be committed to the charge, or come into the hands, of the said Apprentice; and will, in case the said Apprentice enters Her Majesty’s Service during the said term, duly account for and pay, or cause to be paid, to his said Master, his Executors, Administrators, or Assigns, all such Wages, Prize Money and other Monies as may become payable to the said Apprentice for such service; and that the said Apprentice will not, during the said term, do any damage to his said Master, his Executors, Administrators, or Assigns, nor will he consent to such damage being done by others, but will, if possible, prevent the same, and give warning thereof; and will not embezzle or waste the Goods of his Master, his Executors, Administrators, or Assigns, nor give or lend the same to others without his or their licence; nor absent himself from his or their service without leave; nor frequent Taverns or Alehouses, unless upon his or their business, nor play at Unlawful Games : IN CONSIDERATION WHEREOF, the said Master hereby covenants with the said Apprentice, that during the said term he the said Master, his Executors, Administrators, and Assigns, will and shall use all proper means to teach the said Apprentice or cause him to be taught the business of a Seaman, and provide the said Apprentice with sufficient Meat, Drink, Lodgings, Washing, Medicine, and Medical and Surgical Assistance, NO WAGES, the said Apprentice providing for himself all sea-bedding, wearing apparel, and necessaries (except such as are herein-before specially agreed to be provided by the said Master): AND IT IS HEREBY AGREED, that if, at any time during the said term, the said Master, his Executors, Administrators or Assigns, provide any necessary apparel, or sea-bedding for the said Apprentice, he and they may deduct any sums properly expended thereon by him or them from the sums so agreed to be paid to the said Apprentice as aforesaid: And for the performance of the Agreements herein contained, each of them, the said A.E.GILL and JAMES P CORRY & Co., doth hereby bind himself, his Heirs, Executors, and Administrators, unto the said JAMES P. CORRY & CO., his Executors and Administrators, unto the other of them, his Executors and Administrators, in the penal sum of THIRTY pounds; and for the performance of the covenants on the part of the said Apprentice herein contained, the said JAMES GILL as surety, doth hereby bind himself, his Heirs, Executors, and Administrators unto the said JAMES P. CORRY & Co., his Executors and Administrators, the penal sum of THIRTY pounds; Provided, that notwithstanding the penal stipulations herein contained any Justice or Justices of the Pease may exercise such jurisdiction in respect of the said Apprentice as he or they might have exercised if no such stipulations had been therein contained. In witness whereof, the said parties have hereunto set their hands and seals, the day and year above written. Signed, sealed, and delivered, in the presence of - - Weston, 9 & 11 Fenchurch Avenue Signed, James P. Corry (Master) Signed, Albert Edward Gill (Apprentice) James Gill (Surety) NOTE – This Indenture must be executed in duplicate, both copies must be taken to the Registrar General of Seamen; or if in the Outports to the Shipping Master; one copy will then be retained and recorded, and the other returned to the Master with the necessary endorsement. = = = = = = = = = = = = Reverse of the Indenture, Transcribed:- “This is to certify that the herein mentioned Alfred Edward Gill has served the full term of the Indenture in our employ during which time he has conducted himself satisfactorily. According to the Captain’s report he has been strictly sober during the last – years [? from his failure?] Signed: James P. Corry & Co., Owner, Star Line 9 Fenchurch Avenue St, 13 Dec. ‘87 = = = = = = = = = = = = Certificate of Competency, Transcribed:- (Board of Trade logo and printed text of the certificate, with hand written details filled in) By the Lords of the Committee of Privy, Council for Trade Certificate of Competency as MASTER to Albert Edward Gill Whereas it has been reported to us that you have been found duly qualified to fulfil the duties of MASTER in the Merchant Service, we do hereby, in performance of the Merchant Shipping Act, 1854, grant you this Certificat6e of Competency. By Order of the Board of Trade, this 19th day of APRIL, 1894 Signed INGRAM B WALKER (one of the Assistant Secretaries of the Board of Trade) Countersigned -, Regulator General. Registered at the Office of the Regulator General of Shipping and Seamen. = = = = = = = = = = = = Reverse of Certificate of Competency, Transcribed:- No. of Certificate - 020886 Address of Owner - SUNNY LAWN, WALLWOOD ROAD, LEYTONSTONE Date and Place of Birth – 1868, POPLAR Signature – A E GILL. This Certificate is given upon an Ordinary Examination passed at LONDON on the 17th day of APRIL 1894 Every person who makes, or procures to be made, or assists in making any false Representation for the Purpose of obtain for himself or for any other Person a Certificate either of Competence or Service, or who forges, assists in forgery, or procures to be forged, or fraudulently alters, assists in fraudulently altering, or procures to be fraudulently altered, any such Certificate or any Official Copy of any such Certificate, or who frequently makes use of any such Certificate, or copy of any such Certificate, which is forged, altered, cancelled, suspended, or to which he is not justly entitled or who fraudulently lends his Certificate to, or allows the same to be used by any other person, shall for each offence be deemed guilty of a Misdemeanour, and my be summarily punished by imprisonment with or without hard labour for a period not exceeding Six Months or by a penalty not exceeding 100 pounds, and any Master or Mate who fails to deliver up a Certificate which has been cancelled or suspended is liable to a penalty not exceeding 50 pounds. N.B. – Any person other than the Owner thereof becoming possessed of the Certificate is required to transmit it forthwith to the Register General of Shipping and Seamen, Custom House, London, E.C. Issued at the Port of LONDON on the 20th day of APRIL 1894. Signed J I-, - Supt. = = = = = = = = = = = = These certificates are significant as a record of the process required to qualify as a ship’s Master, which was required by the vast number of merchant ships that crossed the world to Australia with cargo and passengers, all contributing to the early settlement and development of Australia as a Colony and a Nation. The certificates are also significant for their association with James P. Corry & Col. owner of the Star Line shipping company that provided trade and passengers to Australia in the late 19th and early 20th centuries. Set of two documents from the Board of Trade, printed on cloth and wax paper, each relating to achieving the standard of Master Seaman, and belonging to Albert Edward Gill. They are dated 1883 to 1894. The forms have been stamped, signed, dated, details completed and sealed with three red wax seals. The certificate number has been stamped onto the document is such as was as to deter forgery. The forms relate to Albert Edward Gill and James P. Corry & Co, Star Line Merchant Services and show his registered number as a Master Seaman. 245.1 – Front: Ordinary Apprentice’s Indenture, printed certificate, with spaces completed and signed by hand, and sealed with three red wax seals. Signed and dated 16 May 1883 Reverse: Handwritten statement, signed and dated 13 Dec 1887. 245.2 – Front: Certificate of Competency, Master in the Merchant Service, printed and completed by hand, registered at the Office of the Regulator General of Shipping and Seamen, dated 19 April 1894. Reverse: Certificate, Ordinary Examination Passed, printed and completed by hand, dated 17 April 1894Signatures and other handwritten details. Stamped with security lines, Registration Number "020886"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, albert edward gill, certificate of compentency, apprentice's indenture, education, employment, 1880's, ordinery examination, able seaman, master seaman, james p. corry & co., star line, timber merchant, emigrant ships

Rev Robert Hodgson: His father was Robert Hodgson Snr, of Congleton, and Mildred (née Porteus) in early 1773. He was baptised on 22 September 1773 at St Peter's Church, Congleton. Hodgson was a close relative (by marriage on his father's side and by blood on his mother's side) of Beilby Porteus, Bishop of London of whom Hodgson wrote a biography of Porteus. On his mother's side, he was a descendant of Augustine Warner Jnr., who presided as the Speaker of the Virginia House of Burgesses during the time of Bacon's Rebellion (Warner served before the Rebellion in 1676, and after the Rebellion in 1677.) Hodgson was educated at Macclesfield School and Peterhouse, Cambridge, where he graduated with a BA as 14th Wrangler in 1795. He was appointed rector of St George's, Hanover Square for over forty years, from 1803 until his death in 1844. Bishop Beilby Porteus: Beilby Porteus 8 May 1731 – 13 May 1809), successively Bishop of Chester and London was a Church of England reformer and a leading abolitionist in England. He was the first Anglican in a position of authority to seriously challenge the Church's position on slavery. Porteus was born in York on 8 May 1731, the youngest of the 19 children of Elizabeth Jennings and Robert Porteus ( 1758/9), a planter. Although the family was of Scottish ancestry, his parents were Virginian planters who had returned to England in 1720 as a result of the economic difficulties in the province and for the sake of his father's health. Educated at York and Ripon Grammar School, he was a classics scholar at Christ's College, Cambridge, becoming a fellow in 1752. In 1759 he won the Seatonian Prize for his poem Death: A Poetical Essay, a work for which he is still remembered. He was ordained as a priest in 1757, and in 1762 was appointed as domestic chaplain to Thomas Secker, Archbishop of Canterbury, acting as his assistant at Lambeth Palace for six years. It was during these years that it is thought he became more aware of the conditions of the enslaved Africans in the American colonies and the British West Indies. He corresponded with clergy and missionaries, receiving reports on the appalling conditions facing the slaves from Rev James Ramsay in the West Indies and from Granville Sharp, the English lawyer who had supported the cases of freed slaves in England. In 1769 Beilby Porteus was appointed as chaplain to King George III. He was also Rector of Lambeth (a living shared between the Archbishop of Canterbury and the Crown) from 1767 to 1777, and later Master of St Cross, Winchester (1776–77). He was concerned about trends within the Church of England towards what he regarded as the watering-down of the truth of Scripture and stood for doctrinal purity. He was, however, happy to work with Methodists and dissenters and recognised their major contributions in evangelism and education. In 1776, Porteus was nominated as Bishop of Chester, taking up the appointment in 1777. He was Renowned as a scholar and a popular preacher, it was in 1783 that the young bishop was to first come to national attention by preaching his most famous and influential sermon. In 1787, Porteus was translated to the bishopric of London on the advice of Prime Minister William Pitt, a position he held until his death in 1809. As is customary, he was also appointed to the Privy Council, and Dean of the Chapel Royal. In 1788, he supported Sir William Dolben's Slave Trade Bill from the bench of bishops, and over the next quarter-century, he became the leading advocate within the Church of England for the abolition of slavery, lending support to such men as Wilberforce, Granville Sharp, Henry Thornton, and Zachary Macaulay to secure the eventual passage of the Slave Trade Act in 1807.Beilby Porteus was one of the most significant, albeit under-rated church figures of the 18th century. His sermons continued to be read by many, and his legacy as a foremost abolitionist was such that his name was almost as well known in the early 19th century as those of Wilberforce and Thomas Clarkson but 100 years later he had become one of the 'forgotten abolitionists', and today his role has largely been ignored and his name has been consigned to the footnotes of history. His primary claim to fame in the 21st century is for his poem on Death and, possibly unfairly, as the supposed prototype for the pompous Mr. Collins in Jane Austen's novel ”Pride and Prejudice”. But, ironically, Porteus' most lasting contribution was one for which he is little-known, the Sunday Observance Act of 1781 (a response to what he saw as the moral decay of England), which legislated how the public were allowed to spend their recreation time at weekends these laws continued for the following 200 years until the passing of the Sunday Trading Act of 1994.Book of sermons cover is brown with gold border and decoration Beilby Porteus (or Porteous; 8 May 1731 – 13 May 1809), successively Bishop of Chester and of London, was a Church of England reformer and a leading abolitionist in England. He was the first Anglican in a position of authority to seriously challenge the Church's position on slavery. The Works of The Right Reverend Beilby Porteus Vol 2” . Spine has “Porteus’ Works, Vol. II Sermons”. The works of the Right Reverend Beilby Porteus, D.D., late Bishop of London; with his life, by the Rev. Robert Hodgson, A.M.F.R.S. and one of the Chaplains in Ordinary to His Majesty. A New Edition in Six Volumes. Vol. II – Sermons. Published in 1811 for T. Cadell and W., Davies, in The Strand, London. Printed by G. Sidney, Northumberland-street. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, right reverend beilby porteous, sermons, london reverend

This Albion printing press was manufactured by Harrild & Sons of London and exported in 1868 from London to the colonial Western Victoria town of Coleraine, population of 700 at that time. It was installed in the Colerain Albion printing office. It was used to print the first edition of the Coleraine Albion newspaper in 1868 and continued until publication ceased in 1974. The Albion Press is still being used today by a volunteer printer in the “Examiners Office” in the village at Flagstaff Hill. Amongst the items produced are printed paper bags for the Tea Rooms and posters for visitors. ALBION PRINTING PRESS The Albion press was invented and manufactured in London by Richard Whittaker Cope around 1820 and was still being produced in the 1930s. The Albion was manufactured under licence by several companies from the 1850s onwards, one of which was Harrild & Sons of Fleet Works, London. Harrild & Sons describes its business as “printing materials manufacturer”. The business was established in 1807 by Robert Harrild and named R. Harrild & Co. In 1813 he showed that rollers could be used to ink a printing plate instead of inking balls, the method in use at the time. He then established a company to make the rollers. Eventually his company would make other printing materials and equipment. Robert’s sons joined him in the 1830s, when the company was renamed Harrild & Sons, and they continued to run the company after his death in 1853 and up until the mid-1900s. COLERAINE ALBION PRINTING OFFICE The Coleraine Albion Printing Office was established by W.L. Ambler. The first issue of the Coleraine Albion was dated 4th January 1868. Arrangements had been made to receive news from Melbourne, nearby provinces, other colonies and England. The second issue on 18 January 1868 printed articles from many agencies, including the Melbourne Age and the Warrnambool Examiner. The Albion office was sold to William Hatherleigh, formerly of Portland, in October 1868. Thereafter the Albion office had many owners. The last was L. A. & E. Oliver, who took over in January 1972 and was the last to be stated as printers and publishers of the Coleraine Albion. The office was wound up in 1974. The Albion Press and other equipment was distributed to Star printing in Terang. Star Printing donated the Albion press to Flagstaff Hill Maritime Village around 1980 and Stan Philp, owner of Philprint in Warrnambool, transported it to Warrnambool, brought it up to good working order and organised the supply of appropriate printer’s type. The Albion hand operated printing press is significant for producing the first newspaper in Coleraine, Western Victoria and continuing production for over 100 years. The Albion is technologically significant as a working example of a hand operated printer from the mid-19th century. The use of the printer is demonstrated by volunteers at Flagstaff Hill, printing items such as lolly and treat bays for use in the Village. The Albion is socially significant for its role in the isolated provincial colony, providing communication with the outside world, both in Australia and overseas. Newspaper printers were often amongst the first businesses of a small town. Printing press; hand operated Albion Press, Patent 2105. The machine has an upright iron frame at the back that supports the upper press that has a wooden handled metal bar is attached. The frame and legs support a thick metal flatbed. A metal leg supports the front of the press bed. The iron work is painted black with gold highlights. The decorative legs are finished with the golden feet of an animal. The frame above the metal bed includes a crown shaped finial symbol above the maker’s emblem. The maker’s details and the name of the printer are embossed on the upright frame. A plaque with the patent number is below a Lion and Unicorn emblem.Embossed maker’s emblem [A red cross - above a double ring – square inside ring – three banners below ring]. - Inside the double rings “PRINTING MATERIALS MANUFACTURE” - Inside the square, intertwined text “H & S” [representing Harrild & Sons] - Inside the three banners ““FLEET” “WORKS.” “LONDON.E.C.” Embossed across the shoulders “ALBION PRESS / HARRILD & SONS, / MAKERS LONDON.” Emblem above plaque [Lion and Unicorn] Embossed on the plaque “PATENT / 2105” Stamped into upright machine part above the printing bed “2105 / 1866” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, albion press, printing press, 1866 printing press, printing equipment, communications, coleraine albion printing office, coleraine newspaper, albion newspaper, south west victoria newspapers, harrild and sons london, richard whittaker cope, star printing terang, philprint, coleraine albion, hand operated press

This plaque displays the Bank of Australia's Coat of Arms and is significant because is ts the symbol printed on the Bank Notes of the Bank of Australasia. The bank of Australasia was incorporated by Royal Charter of England in March 1834. It had its Australian beginning on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank next bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000; the firm built the Warrnambool Post Office in 1856 and purchased land in Timor Street in 1858. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; Hawkins, Manager in 1856, W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The plaque with the insignia has significance through its association with the Bank of Australasia. The early Australian bank was established in 1834 by Royal Charter and opened in Sydney, Australia, in Sydney in 1835. The bank had many Australian offices in November 1877, particularly on the east and south coasts. Victoria had 45 per cent of all Offices. The plaque is locally significant for its association with the Warrnambool Bank of Australasia, which was established in 1854. It was Warrnambool Council’s first bank. The bank continued to operate until the organisation's merger in 1951 when it became the ANZ Bank Group today. The Bank was an integral part of the growth of local commerce and the community.Insignia of the Bank of Australasia. Cast metal coat of arms within a gold, shield-shaped border, painted gold and red, with blue, black and white details. Decals in each corner; upper left and lower right have a white sheep suspended by a blue ribbon, upper right and lower left have a 3-masted, square-rigged sailing ship with a black hull and red flags flying on each mast, sailing on waves with storm clouds in the sky. Between the emblems are gold stars.Decals; ships, sheep, starsflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bank of australasia, boa, union bank, australia & new zealand bank, anz bank, david charters mcarthur, d c mcarthur, currency, banknote, commerce, banking, heraldic shield, insignia, samuel hannaford

This bank cheque originated from the Bank of Australasia, Melbourne branch. It was issued on 3rd December 1885 to a person surnamed Slater for £71.11.5 (seventy-one pounds, eleven shillings and five pence). The parallel lines are called Cheque Crossed and mean that only Slater and no one else could receive the payment and that it would have been paid into Slater's bank account, not exchanged for cash. The embossed dots signify that the cheque amount was also paid to be the bearer of the cheque. Slater would have visited the bank to deposit the money into his or her own account. The cheque was printed by Sands & McDougall, a long-standing Melbourne printing and stationery company. It was then Stamped at the bank with its own unique number before it was issued to the customer. From its previously perforated edges, it is presumed that the cheque was part of a page of cheques, likely to be contained within a book of similar cheques ready for use. The Bank of Australia was incorporated by Royal Charter of England in March 1834. It had its Australian beginnings on 14th December 1835, opening in Sydney. The Acting Superintendent of the bank at that time was David Charters McArthur. He was Superintendent from 1867-to 1876. The Melbourne branch opened on 28th August 1838 in a two-roomed brick cottage on the north side of Little Collins Street, where two huge mastiff dogs were used at night to guard the bank. The government also provided an armed military sentinel. Due to the bank's rapid growth, a new building for the Melbourne branch was opened in 1840 at 75 Collins Street West. By 1879 the bank had been upgraded to a magnificent two-storey building on the corners of Collins and Queens Streets, with the entry on Collins Street. In 1951 the Bank of Australasia amalgamated with the Union Bank to form the Australia and New Zealand Bank, now known as the ANZ. Then in 1970, the ANZ merged with both the ES&A and the London Bank of Australia to form the ANZ Banking Group Limited. The ANZ Banking Group Ltd kindly donated a variety of historic items from the Bank of Australasia. BANK of AUSTRALASIA, WARRNAMBOOL – In 1854 Warrnambool had two banks, the Union Bank and the Bank of Australasia. Later, completely different bank businesses opened; in 1867 the National Bank of Australasia, then in 1875 the Colonial Bank of Australasia. The original Warrnambool branch of the Bank of Australasia was established in July 1854, and operated from a leased cottage on Merri Street, close to Liebig Street. The bank next bought a stone building previously erected by drapers Cramond & Dickson on the corner of Timor and Gibson Streets. Samuel Hannaford was a teller and then Manager at the Warrnambool branch from 1855 to 1856 and the Warrnambool Council chose that bank for its dealings during 1856-57. In 1859 Roberts & Co. was awarded the contract to build the new Bank of Australasia branch for the sum of £3,000. The land was on a sand hill on the northeast corner of Timor and Kepler Streets and had been bought in 1855 from investor James Cust. The new building opened on May 21, 1860. The bank continued to operate there until 1951 when it merged with the Union Bank to form the ANZ Bank, which continued operating from its Liebig Street building. Warrnambool City Council purchased the former Bank of Australasia building in 1971 and renovated it, then on 3rd December 1973 it was officially opened as the Art Gallery by Cr. Harold Stephenson and Gallery Director John Welsh. The Gallery transferred to the purpose-built building in Liebig Street in 1986 and the old bank building is now the Gallery club. Staff at the Bank of Australasia in Warrnambool included the following men but others were also involved: Samuel Hannaford, Teller then Manager from 1855-1856; W H Palmer, Manager from January 1857 until November 1869 when the Teller Basil Spence was promoted to Manager; H B Chomley, Manager from April 1873 and still there in 1886; A Butt, Manager in 1895-1904; J R McCleary Accountant and Acting Manager for 12 months, until 1900; A Kirk, Manager 1904; J Moore, staff until his transfer to Bendigo in December 1908; J S Bath was Manager until 1915; C C Cox, Manager until April 1923; Richard C Stanley, Manager 1923 to April 1928. The bank cheque has significance through its association with the Bank of Australasia. The early Australian bank was established in 1834 by Royal Charter and opened in Sydney, Australia, in Sydney in 1835. The bank had many Australian offices in November 1877, particularly on the east and south coasts. Victoria had 45 percent of all Offices. The bank cheque is significant as an early example of financial management of money and money exchange or transfer.Bank cheque of the Bank of Australasia, Melbourne branch. The rectangular paper has three sides that have been perforated. It is printed in blue with bank's Insignia of a heraldic shield of sheep hung by their waists and ships in full sail. Embossed Stamp Duty mark. Embossed dots. Handwritten black ink details Dated 3rd Dec 1885. Printed in Melbourne by Sands & McDougall. Diagonal parallel lines are across the cheque. Printed: "Bank of Australasia, MELBOURNE (75 COLLINS ST. WEST)." "454,358" "Sands & McDougall, Melbourne" Embossed stamp: Symbol of Crown above double oval lines " - STAMP DUTY" "ONE PENNY" Embossed dots forming test "7 PAID T2" Handwritten: "3rd Dec. [188] 5" "134 - Slater" "Seventy one pounds 11/S 5p" "£71.11.5" Signature: (undecipherable) flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bank cheque, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bank of australasia, boa, union bank, australia & new zealand bank, anz bank, bank note, melbourne, slater, sands & mcdougall, chrssed cheque, embossed dots, paid cheque

W Baker and Co-produced many different types of pottery at their Fenton Potteries, Stoke-on-Trent, Staffordshire England. The company was established in 1790 by Ralph Bourne and William Baker the company was working at capacity by the end of the century. By the late 1820's Bourne and Baker, in partnership with John Bourne, had acquired additional works opposite the first in 1833. With the deaths of John Bourne and William Baker, the partnership was dissolved, and then for a short time, the business was carried on by Ralph Bourne and William Baker junior and John Baker. By the early 1840s, William Baker was running it alone and was then using 'machinery for the potteries manufacturing operations in addition to the mill that was producing the raw clay. The business was subsequently carried on by William Baker and Company that were known for the making of printed, sponged, and pearl-white granite ware for export in the early 1880s at the Fenton works between Manor and Fountain Streets. The original works on the south side of City Road were by then an en-caustic tile works, apparently still in the hands of the Baker family. The pottery works flourished under William Baker’s management and by the middle of the nineteenth century with almost 500 employees was the biggest firm in Fenton. An early piece of ironstone Staffordshire pottery now a collector's item showing the types of domestic items that were exported from England to its colonies towards the end of the nineteenth century and into the beginning of the twentieth.Water pitcher ironstone ceramic white with raised embossed Lilly of the valley decoration around handle and lip sections. Marked on bottom, "Royal stone china, Baker and Co, England" with emblem of lion, crown and unicornflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, jug, kitchen utensil, kitchen ware, water pitcher

Thomas Sheraton (1751-1806) appears to have been the first to record the written term “Canterbury” music or magazine stand. In his Cabinet Dictionary of 1803 he refers to “a small music stand” with divisions for holding loose sheet or bound volumes of music. The music stand designed to hold sheet music came into fashion in the late 18th Century in England and was often crafted from mahogany, rosewood or walnut. They were seen as status symbols since music was practiced exclusively by the upper classes of society. In a period when printed music was more widely available and disseminated due to more affordable printing techniques, modern sheet music was very popular and therefore storage for such favoured tunes became a luxury and an opportunity for innovative design by cabinet makers. The Classical period of music, from about 1750 to 1820 and the Romantic Period from around 1815-1910 was the golden age of classical music. And it was at this time that The Canterbury often accompanied the piano in the parlour with styles ranging from Georgian simplicity to Victorian exuberance. Social activities of colonial Victoria would have included evening gatherings of family and friends around the piano to enjoy performances or sing along together with from old and up-to-date music sheets. The Canterbury would also be an elegant and practical place to also store newspapers, magazines, posters and drawings from overseas. The news from ‘home’ would be enjoyed by all. THE INSCRIPTION “Jack Morse” Morse. In 2010 Mr Jack Morse was recognised as one of the “people who have contributed to the long term development of Flagstaff Hill Maritime Village”. He was a member of the Flagstaff hill Planning board and a Current Life Member and had been awarded a Certificate of Service and the provision of an Annual Family Membership for life by Flagstaff Hill. The Morse’s family business, Morse’s Engineering, closed in 2010. It was considered “One of Warrnambool’s longest operating businesses with roots dating to 1883 with the design and manufacture of coaches and buggies, progressing to automotive repairs and later specialising in under-vehicle work” The Canterbury appears to have been handmade prior to 1860 as the dovetails are handmade and there are no saw marks on the drawer sides or back as well the sides. Also the back has small nicks indicating a hand plane or drawer knife was used rather than a saw blade to size the material. Additional indications are that the spindles are slightly different in size meaning they were handmade individually not mass produced. From these indicators the writer believes that the item was made before 1860 as machinery was only used after this date to produce furniture. As yet no individual maker can be attributed to this item, however it is a significant piece historically and is quite valuable if a known maker can be associated with the Canterbury. The item highlights a time in our social history when music played an everyday part in people’s lives as the only entertainment families could enjoy together in their own homes. A Canterbury music stand, having three compartments consisting of twenty turned spindles supporting the slat dividers. A drawer, with two turned wooden handles, is fitted below. The music stand has turnip style turned feet. The drawer front and carcass of the stand are veneered rosewood over a mahogany carcass. The underlined words "Jack Morse" are handwritten underneath the drawer bottom.Hand written inscription on underneath the drawer bottom "Jack Morse".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, canterbury, music rack, magazine rack, music stand, magazine stand, 19th century furniture, occasional furniture, frederick cornwallis, jack morse, morse’s undercar, music, thomas sheraton, regency furniture, music canterbury

This framed print was part of the original furnishings of the St Nicholas Seamen's Church in Williamstown, Victoria. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen was an Anglican charity that served seafarers of the world since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the organisation began in Williamstown in 1857 as a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’ in an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This print is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. Framed coloured print depicting the Virgin Mary. An indoor scene of a seated female figure wearing a long dress showing a book to an unclothed infant on her lap. This print is part of the St Nicholas Seamen's Church Collection. flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, print, religious print, virgin mary

This framed print is part of a number of items from the St. Nicholas Seamen’s Church, 139 Nelson Place, Williamstown, Victoria, used during religious services there. The Church was operated by the Mission to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. Its symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the orgainsation began in Williamstown in 1857. It was a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This print is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The item is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this item to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Print of a watercolour painting, framed in Huon pine wood behind glass.Depicts the artist's impression of the Biblical event referred to as The Last Supper. Inscription marked on the back. Australian, circa 1890. The print is part of the St Nicholas Seamen's Church Collection (NOTE: This is not a copy of Leonardo da Vinci's 'Last Supper'.)On rear of board: "156" flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, last supper, worship, religious worship, ladies lightkeepers’ auxiliary

A colour photograph of Murchison Street in Marysville in Victoria.A colour photograph of Pack Road in Marysville in Victoria. Labeling is incorrect. View is down Murchison Street towards Barton Bridge. In the background can be seen the rectory from the Church of England. The rectory survived the 2009 Black Saturday bushfires whilst the church was destroyed. This postcard was produced by Colorscans Publishing as a souvenir of Marysville.Colorscans c PUBLISHED & PRINTED BY COLORSCANS (PUBLISHING) PTY LTD 118-120 BRIGHTON STREET, RICHMOND 3121/ Supa-vu/ cards MARYSVILLE - VICTORIA/ Pack Road, Marysville Photographed and Distributed by:/ K & H. Ellis - 35 Old Warburton Road,/ Warburton 3799marysville, victoria, pack road, murchison street, postcard, souvenir, colorscans publishing, k & h ellis, 2009 black saturday bushfires, church of england

Hudson's Soap Powder, was the first satisfactory and commercially successful soap powder and was made in Liverpool by Robert Spear Hudson. He was also an innovator in using advertising, commissioning striking images from professional artists and paid for publicity , something which few other businesses did, and as such Hudson's soap became a household name. Horse, steam and electric tramcars, print periodicals and chemist shops carried his advertisements. This sign was manufactured by Patent Enamel Co Ltd was a company built in 1889 at Selly Oak, Borough of Birmingham, West Midlands, England, United Kingdom. The business was the first factory specifically devoted to enameled iron sign making. It had twelve furnaces for fusing the enamel, two scaling furnaces, and a large printing room, plus a huge area for steampipe drying. The company also smelted its own enamels and colour oxides. It is believed that the factory was decommissioned and demolished in the 1960's.the first factory specifically devoted to enameled iron sign making. It had twelve furnaces for fusing the enamel, two scaling furnaces, and a large printing room, plus a huge area for steampipe drying. The company also smelted its own enamels and colour oxides.The factory was decommissioned and demolished in the 1960s.The signage demonstrates the increasing demand for domestic soap products and new forms of advertising. The soap business was apart of the flourishing export trade between Australia and Britain during the height of the British Empire.Enamel advertising sign for Hudson's soapflagstaff hill, warrnambool, maritime museum, hudson's soap, advertising signage, patent enamel co ltd, selly oak, borough of birmingham, robert spear hudson

A black and white photograph of The Log Cabin in Marysville in Victoria.A black and white photograph of The Log Cabin in Marysville in Victoria. The Log Cabin was built by Thomas Henry Branchflower who had arrived from England late in 1921. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist.Holiday at Marysville/ 1930s B 223 KODAK PRINTthomas henry branchflower, gerald branchflower, marysville, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, photograph, the log cabin

A black and white photograph of The Log Cabin in Marysville in Victoria.A black and white photograph of The Log Cabin in Marysville in Victoria. The Log Cabin was built by Thomas Henry Branchflower who had arrived from England late in 1921. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist.Snow/ The Log Cabin/ Winter 1943 6 22 KODAK PRINTthomas henry branchflower, gerald branchflower, marysville, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, photograph, the log cabin

A black and white photograph of The Log Cabin in Marysville in Victoria.A black and white photograph of The Log Cabin in Marysville in Victoria. The Log Cabin was built by Thomas Henry Branchflower who had arrived from England late in 1921. It was built for Gwendoline Pitman after the death of her father Clarence Pitman and the disappearance of her sister Olive in July 1926. Gwendoline operated an artist and souvenir shop in the newly built Log Cabin in partnership with Peter Mackey who was a Melbourne optician and artist.At the Log Cabin/ Marysville 5 26 KODAK PRINTthomas henry branchflower, gerald branchflower, marysville, mary chain, gwendoline pitman, clarence pitman, kooringa guesthouse, olive pitman, wilbur anderson, peter mackey, photograph, the log cabin

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. In 1881, Reverend J H Davies founded Caulfield Grammar School in Elsternwick, Victoria with just nine students.Page 54 of Photograph Album with one photograph of two images of Caulfield Grammar School. The images are vertically arranged and joining.Hand written: Caulfield Grammar School / 1909 [middle top] / Glen Eira Road [top right ]/ 54 [bottom right]. Top image includes a printed title "Old School" and the bottom image "New Class Rooms".trevor hart, 1880's, 1890's, elsternwick, caulfield grammar school, reverend j h davies, education, glen eira road, st kilda east, church of england, double storey school buildings

Levy Sons & Co. 1895-1919 Paris, France and London, England In 1864 the Parisian photographic studio of Ferrier pere*, fils & Soulier was bought out and became M. Leon & J. Levy. This partnership lasted until 1872 when Leon left and it was renamed J. Levy & Co., which became an important producer of stereo-views and lantern slides. By 1895 his sons had joined the company and it was renamed once again to Levy Sons & Co. (or Levy et ses Fils). His son Lucien became a well known photographer who began publishing international view-cards from his own work depicting scenes mostly from within the French empire, though quite a number are from England and there are some from Australia and Russia as well. There are few French towns that are not captured by his cards. His name does not appear on the cards but - L.L. follows the title as a photo credit. Many of their cards are not attributed. These cards were printed as colotypes in black & white, sepia, and over speckled color lithography. In 1920 the studio united with Neurdein Freres to become Levy & Neurdein reunis. Their negatives are now owned by the Roger-Viollet Photographic Agency. *Claude Marie Ferrier (1811-1889) was also an important early photographer. He was the 'Pere' in Ferrier Pere, Fils & Soulier - best remembered for their stunning series of glass views. Sorting this collection is a challenge. The postcard rears display a variety of forms - a) garland emblem with LL inside, b) with an addition emblem within (FPS?). Or c) - no emblem which may mean production by another company - however LL. remains on the front as a credit to the photographer. http://www.metropostcard.com/picslogos/pcl-levylucien.jpg.jpg http://www.unpi.com/clem/unpostcards/LON1919PC2Naback.jpg Example Colour Card circa 1920 No. 78 Paris - L'Escalier de l'Opera - LL. http://www.postcardcollector.org/forum/index.php?p=/discussion/1306/levy-fils-cie-paris-specifically-lucien-levy-llAbbeyville was a town in the Somme, so that this is a possible reason that the name has been erased on the postcard. http://www.france-voyage.com/travel-photos/abbeville-11435.htmSmall brown covered book of 12 postcards with views of Abbeyville in the Somme. Issue between each each individual postcard. The cover has an oval on front and the name "Abbeyville" in its centre has been erased. The name of the town has also been erased (censored) throughout the booklet. There is a garland in maroon around the maroon oval on the front cover. Print in dark grey on bottom left and right hand side corners.Print "Modele ... Depose" in dark grey on bottom left and "12 Vues Detachables" on right hand side corners. Names of places printed inside but the name of the town has been erased throughout. "Carte Postale" with logo underneath at centre and "Correspondence" LHS and "Adresse" RHS on top of verso of each postcard in booklet. "Levy Fils & Co, Paris sideways along centre line of postcard on verso.abbeyville, levy fils, postcard, vues, panorama, place de l'amiral-courbet, monument, rue alfred-cendre, alfred-cendre street, statue, saint vulfran church, saint gilles church, museum, prarona statue, avenue de la gars, avenue of the station, chevalier de la barre, river somme, somme, talence bridge, correspondence, carte postale, censor, censored

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Christ Church Warrnambool – The image on this card shows Christ Church, a stone building built in 1856. The Anglican church is in Henna Street, Warrnambool. The church, outer buildings and grounds are heritage-listed. Its bell tower harbours German bells. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Christ Church Warrnambool is significant for its connection to the church. The early building of the church in 1856, within the first decade of Warrnambool being proclaimed a town, shows the strong religious desire of the community. The church is part of Warrnambool's life events and the historical significance of the building,Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is a stone castle-top bell tower beside a church building flanked by trees. A stone fence is across the front, with pedestrian and vehicle white picket gates. The title is in red print on the front of the card. There is no correspondence written on the card. The reverse has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “CHRIST CHURCH, WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, christ church, bell tower, german bells, warrnambool church, religious building, stone building, anglican church, parish of warrnambool

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Christ Church Warrnambool – The image on this card shows Christ Church, a stone building built in 1856. The Anglican church is in Henna Street, Warrnambool. The church, outer buildings and grounds are heritage-listed. Its bell tower harbours German bells. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time, he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This card is the only one of the nine cards with the location of Warrnambool added to the name 'Joseph Series'. It is also the only one that has text within the outline for the postage stamp. The font used for the test of the headings is slightly different to the other cards. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool. This postcard of Christ Church Warrnambool is significant for its connection to the church. The early building of the church in 1856, within the first decade of Warrnambool being proclaimed a town, shows the strong religious desire of the community. The church is part of Warrnambool's life events and the historical significance of the building,Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is of the Interior of the church chapel, with exposed timber beams, white arches decorated with flowers, pews with books on shelves, and organ pipes. There is text on the image. The title is in red print on the front of the card. The back has inscriptions and outlines for a postage stamp. There is no correspondence written on the card. Jordan Series, printed in Great Britain.Front, in red: “CHRIST CHURCH, WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here” Text on the arch: "THE LORD OF HOSTS"flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, christ church, bell tower, german bells, warrnambool church, religious building, stone building, anglican church, parish of warrnambool, arch pillars

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Ozone Hotel, Warrnambool – Construction of Warrnambool’s Ozone Hotel and Coffee Palace on the corner of Koroit and Kepler streets began in 1890. The luxury venue included ballrooms, dining rooms, a theatre and a tower. In 1929 it burnt to the ground in a spectacular fire. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.This postcard of the Ozone Hotel and Coffee Palace is significant for its connection to the Victorian-era hotel. The hotel was a luxury facility that attracted visitors to the town by sea, rail and road. The postcard also represents the short period in which the hotel operated and the notable, unforgettable event of its burning to the ground. Out of the set of nine postcards in this donation, this card is the only one that includes the location of Warrnambool on the back. It is also the only one with text within the outline for the postage stamp and with headings in this font. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image is of a grand three-storey building on a street corner with a tall turret, shorter turrets, and arches on the verandas. The back has inscriptions and outlines for a postage stamp. There is no correspondence written on the card. Jordan Series, printed in Great Britain.Front, in red: “Ozone hotel, Warrnambool” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, ozone hotel and coffee palace, ozone hotel, warrnambool hotel, destroyed by fire, coffee palace

The nine postcards in this set were donated together and date to the early 1900s. All but one postcard in this set shows images of Warrnambool, in the Western District of Victoria; the other has a London image. The postcards were all printed in Great Britain according to that country’s postal regulations. The fronts of all cards have titles printed in red. Most of the images on the cards are attributed to photographer Joseph Jordan and belong to the Jordan Series. The back of these cards has an outline for a postage stamp, a vertical dividing line and a heading on each side of the line to separate the Correspondence from the Address. Postcards or ‘correspondence cards’ appeared in Britain in 1894. They were plain cards with a space for the message on one side and an address on the other; regulations didn’t allow anything but the address to be written on the ‘address’ side. In 1902 the British regulations then allowed a picture to be printed on the front and the address on the back, so messages had to be written on the picture side. Soon, the regulations changed and the back was divided for a message and the address. Titan Bridge, Warrnambool – The name Titan Bridge is likely to be a reference to the huge Titan crane that was used in the construction of the Breakwater in the late 19th century. Shelly Beach is a popular swimming area with the added attraction of rock pools to investigate and rock formations to climb. Joseph Jordan - Joseph Jordan was born in 1841 in Leicester England. When he was 16 he joined the 7th Queen's Own Hussars and was sent to India at the outbreak of the mutiny. He took part in the relief of Lucknow and remained in India for eleven years. It was during this time that he became interested in photography. He was posted to New Zealand and later came to Victoria, becoming a sergeant major of the Mounted Rifles. In the mid-1880s he came to the Western district where he was responsible for establishing units of the Mounted Rifles in various country towns such as Dunkeld, Mortlake, Panmure, Bushfield, Koroit etc. He resigned from the army in 1889 and set up a professional photography studio in Liebig Street, Warrnambool. He became very well known in the Western District for family photographs, official photographs of local councillors and groups as well as views of local scenery. In 1891 he photographed the wrecked barque ‘Fiji’ at ‘Wrecks Beach’ near Princetown. His business was taken over by his son Arthur around 1917. Joseph was a keen rifle shot and in 1924 he donated the "Jordan Shield" as a prize to the Victorian Rifle Association. He was made a "Life Honorary Member" of the Warrnambool Returned Soldiers League and in 1933 he was recognised as being the oldest living soldier in Victoria. Joseph died in 1935 aged 95.The image of the Titan Bridge rock formation with figures on it suggests that the location was a popular place to visit. It captures a time when the rock formation was publically accessible. The choice of subject for this postcard indicates the popularity of Warrnambool's natural environment as a tourist attraction at a time when ships called coastal traders brought passengers and cargo to the Port of Warrnambool from ports along Victoria's southwest coast. Joseph Jordan is a significant figure in Warrnambool history as he helped to establish early units of the Mounted Rifles (G Company) in local towns during the late 1880's and later, photographed local scenes, groups and citizens of early Warrnambool.Postcard, one of nine, landscape orientation, coloured print within an oval border and mauve-toned shading. The cameo image shows two figures, one seated and one standing, beside the sea on a rough rock beside a rock formation resembling a bridge. There is no correspondence written on the card. The back has inscriptions and outlines for a postage stamp. Jordan Series, printed in Great Britain.Front, in red: “TITAN BRIDGE / SHELLY BEACH, NEAR WARRNAMBOOL” Back in black: “Jordan Series” “POST CARD” “PRINTED IN GREAT BRITAIN” “For correspondence” “The Address only to be written here”flagstaff hill maritime museum, flagstaff hill maritime village, flagstaff hill maritime museum and village, maritime museum, warrnambool, great ocean road, warrnambool and district, warrnambool scenes, local scenes, views of warrnambool, joseph jordan, jordan series, jordan photography, postcard, souvenir, correspondence, cameo postcard, landscape, shelly beach, titan bridge, titan, rock formation

W.B Withers wrote of Sutton: "In the realm of science Ballarat has become of world-wide fame through the inventions by Mr Henry Sutton, a native of the place. His skill and acquirements in electricity, telegraphy, telephony, photography and also in astronomical and microscopal studies have won for him a high position as a practical scientist, and the credit is the greater as he is a self-taught student … Mr Sutton, before he was fourteen years old, had read every book on science to be found in the library of the Ballarat Mechanics' Institute." The Ballarat School of Mines (SMB) was fortunate to have this genius appointed as the lecturer-in-charge of the new Electricity and Magnetism department from 23 April 1883. Although Henry Sutton submitted his resignation to the Council of SMB in October 1884 it was resolved that he be asked to reconsider, and Mr Sutton continued to teach at SMB until the end of 1886. He was a prominent member of the Camera Club, and many of the other SMB clubs. Sutton had an active and fertile brain, and was known for his inventions, especially his work on the telephone, telephane and carbon lamps. Sutton presented a vacuum pump, worked by water jet, for use in SMB Chemistry classes. His report of 1883 states: ‘A telephonic circuit has been laid down between the [SMB] engine-house and workshops, to be used for experimental purposes.’ Henry Sutton spent much thought on artificial flight, and made some interesting experimental studies with flying birds. The storage of electricty also attracted his attention, and, after much work and thought evolved the Sutton Secondary Battery. A paper on this battery was presented to the Royal Society, London, and was afterwards printed in the 'Transactions'. Henry Sutton is listed on the Federation University Honour Roll at https://www.federation.edu.au/curator/honour-roll/honourroll_sutton.shtmlA crude scientific instrument that measures amps, with a timber base and frame. Terminal posts and sliders contacts are positioned on top of the base, with flex attached. Henry Sutton lectured at the Ballarat School of Mines (SMB) in Electricty and Magnestism between 1883 and 1886. In 1883 Sutton reported: ‘…The class has been unfortunately situated, by having to wait for instruments of precision ordered from England, but which have not come to hand. The delay has caused us to start constructing instruments, which it is hoped will bear favourable comparison with those of older date.'ammeter, henry sutton, electrical, inventor, electricity and magnetism, sutton, scientific instruments