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The Beechworth Burke Museum
Animal specimen - Purple Swamphen, Trustees of the Australian Museum, 1860-1880
The Purple Swamphen can be readily located across eastern and northern Australia. They reside in areas with water including ponds, lakes, storm water drains, wetlands, swamps and marshes. These birds can often seen in urban locations including parks or along roadsides after a period of rainfall. Due to their adaptability, these birds often change environments. Purple Swamphens are omnivores and eat a wide variety of plants and animals. They live in large family groups and lay an average of five eggs which are the shared responsibility of both parents and occasionally the responsibility of young from a previous brood who may also assist caring for the eggs. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This taxidermy specimen is of a Purple Swamphen which is styalised standing on a wooden platform and has a paper identification tag tied to its upper left leg. The Purple Swamphen has dark colouring on its back and head with a purple-blue coloured neck, breast and belly. The bill is oversized and is orange/red which is the same colour as the frontal shield on the bird's face. The eyes are made from a red and black glass and the legs of this specimen are orange. The legs are elongated and the toes also long and unwebbed. 17e. / Purple Gallinule / Catalogue Page 35 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, swamphen, moorhen, purple bird, hen, purple swamphen, water bird -
Orbost & District Historical Society
black and white photograph, August 1897
This is a photograph of the bridge from the Orbost side. The first pile bridge over the Snowy River was just completed by Mr Jim Granter when the 1891 flood took out the centre,. There were differences of opinion as to whether the council should pay . The Shire Secretary, Mr John Draffin, persuaded them to honour their obligations. Mr Granter and Mr Clarke finished it as a suspension bridge which was opened by Mrs William Watt. Soon after a mob of cattle stampeded, the weight snapped the cable, letting one side sag. Mr R.P. Cameron repaired it and this bridge remained until 1922. "In 1890 the contract for a bridge was let to Mr James Granter for £1450. This structure with additions and improvements made to it was to cost the ratepayers about £2,500, and its erection was proceeded with in a very satisfactory manner until, just as the greater-part of the work had been completed, the flood of 1891 came down on it, piling up mountains of logs, timber and debris against the piers, which had not been made wide enough apart to allow for. contingencies of this kind. The structure held out bravely until the turn of the flood and then gave way with a crash, about five bays from the centre disappearing in the stream." ( Snowy River Mail August 12 1893) This item is a pictorial record of one of the first bridges across the Snowy River in Orbost.A black / white photograph of the old wooden suspension bridge over the Snowy River. There are two copies 919.1 and 919.2. There are two other photos showing the whole bridge taken from further back.on back - "Orbost Bridge...."snowy-river-bridge-orbost granter-james -
The Beechworth Burke Museum
Photograph
The photograph, captured around 1900, depicts a large group of minors located in Beechworth. Importantly, this photograph can provide information into the clothing and fashion of minors during this period of history. These men wear loose fitting shirts which are mostly a pale white colour, several wear vests and/or jackets and loose fitting trousers with boots. The majority of men wear wide brimmed hats to protect their skin and eyes from the sunlight. One man has a wooden pipe in his mouth and a few have ties/neckerchief's tied around their necks. The outfits of these miners has the potential to provide insight into their social status, these men are all dressed equally which provides the notion that they are of equal societal standing. The outfits of these miners dating to the 1900s is not dissimilar to photographs of those captured in the 1880s. The location of this photograph is not easy to interpret, but the photograph is recorded to have been taken in the Beechworth region. Displayed in this image is some wild shrubbery and grass where the men are standing/sitting and behind the group is a tin wall or even tin building. At the end of 1899, companies were continuing to search for gold in Beechworth and the surrounds but these attempts were not overly successful. In the early 1900's Quartz mining was occurring but this was done by individuals or smaller parties. It is unclear if these men are mining for gold or for quartz.The search for gold is ingrained into the history of Victoria and therefore, the study of images like this one which portrays some of the miners who worked behind-the-scenes for these discoveries has the potential to reveal important information regarding society, fashion etc. The date when the photograph was taken is vague but it allows us to form a timeline of mining activities in the North East. This image is of important historical significance for its ability to convey information about society at the time, regarding fashion (which can potentially reveal social status) and mining in Beechworth in 1900. Black and white rectangular photograph printed on matte photographic paper mounted on board.Reverse: BMM 8032/ Group(?) Beechworth Mines about 1900/ 80quartz, north east gold, sluicing, gold sluicing, hydraulic sluicing, mining, gold mining, north-east victoria, beechworth, burke museum, 1900, group, miners, hats, vests, ties, wild shrubs, tin, quartz mining -
Eltham District Historical Society Inc
Photograph, The Rose Stereograph Company, Plenty River, Greensborough, c.1939
View looking northwest along the Plenty River towards the original bluestone Greensborough Bridge (since demolished). A timber pedestrian footbridge added after construction is visible with two people crossing. In the distance is a wide flat verge, now present day Carter Reserve and on the far side seven men digging and a set of terraced steps dug out in the earth bank. Present day Pioneer Reserve is to the right of the river in foreground. This glass plate negative was used to manufacture postcards (1:1 printing) for commercial sale by the Rose Sterograph Company and its subsidiaries. George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry.This remarkable collection of glass plate negatives, transparencies, and postcards – arguably Australia’s most significant photography collection outside of public hands – has been passed down through the generations, surviving war, relocation, and the harsh Victorian climate. The historic Rose Stereograph collection is the culmination of George Rose’s dream of capturing and preserving precious moments in time and remains the legacy of the Rose and Cutts families. It is with great sadness that the Cutts family says goodbye to a collection that spans five generations and 140 years. The Cutts family understands that for these historically important pieces to rest with one family is to deny others the pleasure of their custodianship.Glass Plate Negative Size: 9 x 14 cmPlenty River, Greensborough, Published by W. M. Butterworh No. 2postcard, travel, rose stereograph company, glass plate negative, greensborough, carter reserve, footbridge, greensborough bridge, main road, plenty river, w. m. butterworth, pioneer reserve, construction, peter and elizabeth pidgeon collection -
Federation University Historical Collection
Book - Book - Handbook, VIOSH: BCAE, Readings in Occupational Hazard Management, 1981
Victorian Institute of Occupational Safety and Health (VIOSH) Australia is the Asia-Pacific centre for teaching and research in occupational health and safety (OHS) and is known as one of Australia's leaders on the field. VIOSH has a global reputation for its innovative approach within the field of OHS management. VIOSH had its first intake of students in 1979. At that time the Institution was known as the Ballarat College of Advanced Education. In 1990 it became known as Ballarat University College, then in 1994 as University of Ballarat. It was 2014 that it became Federation University. VIOSH Australia students are safety managers, senior advisors and experienced OHS professionals. They come from all over Australia and industry. Students are taught active research and enquiry; rather than textbook learning and a one-size fits all approach. VIOSH accepts people into the Graduate Diploma of Occupational Hazard Management who have no undergraduate degree - on the basis of extensive work experience and knowledge. The handbook provides students with the reading resources appropriate for tutorials in Occupational Hazard Management at Ballarat College of Advanced Education. Articles are from a wide range of resources and by a number of authors in the field. One of interest was a Report of the Committee 1970-72 by Chairman Lord Robens. It was presented to Parliament by Command of Her Majesty, July 1972.Spoiral bound book of 234 A4 Pages. Cream cover - slightly dirty.viosh, victorian institute of occupational safety and health, occupational hazard management, tutorials, readings, occupational accidents, road safety, strategies, sociological problems, dimensions of the problem in australia, s p barker, w hadden, k g jamieson, eric wigglesworth, j s robertson, d klein, e suchman, d f jones, lord robens, o woodhouse, j m henderson, j a walker, p z barry, j c lane, j w anderson, s lancer, r g sell, s k mckenzie -
Eltham District Historical Society Inc
Book, Marguerite Marshall, Nillumbik now and then / Marguerite Marshall; photographs Alan King with Marguerite Marshall, 2008
Nillumbik Now and Then takes the reader on a journey from when the Aboriginal people were this area's sole inhabitnats, to the present day. Nillumbik's history - told in this collection of 96 stories, which are nearly all based on sites - mirrors those of the wider Australian community. It includes tales of the Wurundjeri people, a former convict, farmers, a bushranger, gold-mining, soldiers, artists, intellectuals, environmentalists and sportspeople. Each story is illustrated with a photograph. As a journalist with the former Diamond Valley News, Marguerite Marshall wrote a series of articles on local places of historic interest, later published as the small book "Eltham Shire - Historic Buildings and Places". Many years later an expanded version was published under the title "Nillumbik Now and Then". This is a much larger version of "Nillumbik Now and Then", including significant rewriting and many additional articles. The new publication was made possible by financial support from the Victorian Public Records Office, Bendigo Bank and Nillumbik Shire Council. EDHS and other historical societies in Nillumbik assisted with content for many of the stories. The book was launched at the Eltham Library on Wednesday 19th November 2008. Source: EDHS Newsletter No 183, November 2009 The front cover art depicts The former house of naturalist and artist Neil Douglas at Bend of Islands, photographer Marguerite Marshall. This collection of almost 130 photos and stories about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. Paperback; x, 198 p. : ill., ports. ; 30 cm.Signed by the authornillumbik shire, houses, buildings, weller's hotel, landmarks, bend of islands -
Flagstaff Hill Maritime Museum and Village
Equipment - Spring Balance Scale, George Salter & Co, 1920s
Scales such as the subject item were used to measure commercial quantities, possibly grains and farm produce for quite large amounts of product. Bags of grain etc would have been hooked up and weighed. Salter has been a name long associated with weights and measures. The firm began life in the late 1760s in the village of Bilston, England when Richard Salter, a spring maker, began making the first spring scales in Britain. He called these scales "pocket steelyards", though they work on a different principle from steelyard balances. By 1825 his nephew George had taken over the company, which became known as George Salter & Co. George later established a manufacturing site in the town of West Bromwich, about 4 miles (7 km) from Bilston. West Bromwich Albion football club was formed from workers at this works site. From here the company produced a wide variety of scales including the UK's first bathroom scales. Other items were added to the range, including irons, mincers, potato chippers, coin-operated machines and the first typewriters made in the UK. The business thrived throughout the 1900s, and by 1950 it employed over 2000 people, still in the same area and owned by the same family.Salter is a British housewares brand developing products that span a wide range of core product categories, including scales, electrical, cookware. It is a market leader in kitchen and bathroom scales and one of the UK’s oldest consumer brands. Established in 1760, Salter has been developing precision products for over 260 years. It was acquired by Manchester-based consumer goods giant Ultimate Products in 2021 after they had previously licensed the brand for cookware and kitchen electrical since 2011.Balance scale Salters Spring Balance consisting of a circular, bronze face engraved with measurements in pounds, with an iron hand, weighing mechanism and hanging loop. Engraved on the face: "Class III Salter's Spring Balance Silvester's Patent To Weigh 300lbs".flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, salter balance scale, weight measuring scale, weighing dry goods -
Federation University Historical Collection
Photograph - Poster, University of Ballarat Manufacturing Technology Training Centre poster signed by Prime Minister Julia Gillard, 07/10/2011 (approx 11.15am)
The new Manufacturing Technology Training Centre (MTTC), a part of the proposed Building Construction Training Centre (BCTC), will be a purpose-built, stand-alone, fully fitted-out industry-standard facility. This new space will accommodate current course provision along with specialist training spaces for developing skill requirements in manufacturing technology such as robotics, mechatronics, engineering and industrial automation. Project funding was provided by the Education Investment Fund from the Australian Government Department of Education, Employment and Workplace Relations. The project budget is $18.09m, and the resulting building will have a floor space of 4,755m2. The Manufacturing Technology Training Centre is being built in conjunction with the Technical Education Centre (UBTec). While the buildings will have separate street identities the buildings will be joined with shared amenities areas. UBTec will provide a facility including individual learning spaces, learning studios, administration/office space, circulation, open plan learning space, staff common areas, computer rooms, meeting rooms, staff work areas and kitchen areas as well as car parking and site-wide amenities. While the buildings will have separate street identities the buildings will be joined with shared amenities areas. Funding for the UBTec component of the building is provided by Maintaining the Advantage: Skilled Victorians from the Victorian State Government. A colour poster prepared for the 'turning of the sod' at the site of the proposed University of Ballarat Manufacturing Technology Training Centre (MTTC), Grant Street, Ballarat. The poster was signed on Friday 7 October 2011 at about 11:15 am at the Building Construction Training Centre (BCTC), Grant Street, Ballarat by: Hon. Julia Gillard MP Hon. Catherine King MP (Ballarat ) Prof. David Battersby, Vice Chancellor, University of Ballarat Mayor, Cr Craig Fletcher, Mayor of the City of Ballarat appointed in December 2010 Mrs. Karen Douglas, Chair University of Ballarat Building & Infrastructure Committee The poster is signed by the Prime Minister of Australia, the Hon. Julia Gillard MP; Karen Douglas; the Hon. Catherine King MP (Ballarat ); Prof. David Battersby (Vice Chancellor); Craig Fletcher (Mayor, City of Ballarat)university of ballarat, david battersby, julia gillard, prime minister, catherine king, ubtec, karen douglas, manufacturing technology training centre, grant street, architecural feature -
Flagstaff Hill Maritime Museum and Village
Textile - Pillowcase, ca 1910
This embroidered white ruffled pillowcase was handmade. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future Pillowcase, rectangular in shape with a ruffle edge, white with white floral embroidery. Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, handmade, craft, manchester, linen, haberdashery, needlework, pillowcase -
Flagstaff Hill Maritime Museum and Village
Functional object - Megaphone, Merriman Brothers, First quarter of the 20th century
A megaphone or loudhailer is usually portable or hand-held, the cone-shaped acoustic horn used to amplify a person's voice or other sounds and direct it in a given direction. Used to communicate with others over distances. In Greek mythology, "Stentor" was a Greek herald during the Trojan War. His name has given rise to the adjective "stentorian", meaning loud-voiced, for which he was famous. The large funnel-shaped device is made of recoated cardboard that is riveted together. It has a metal mouthpiece at the narrow end and a metal edge at the wide end, and a metal handle. The design indicates that it is a ‘Stentor Megaphone’ patented on 4 April 1899 by a company in Boston. Stentor brand megaphones were manufactured by Merriman Brothers, in Boston. In 1898 the brothers specialised in hardware for yachts their workshop was at 139 Border St. East Boston, Mass. They also made other equipment, which included pulley blocks, winches and fittings, and were well-known worldwide before the company closed in 1995. Merriman megaphones, including the familiar cheerleader megaphones, came in different sizes, Their patent for the device, dated April 4, 1899, specified details such as the 'rivets, metal mouthpiece, and adjacent parts, and an undated pamphlet promoting the Stentor Megaphone emphasizes its 'highly finished' appearance 'with nickel mouthpiece, rim and other fittings'. The Stentor Megaphone has significance for its provenance and historic value, and also as a relatively rare item of equipment once used worldwide in marine situations, such as light stations and many other similar applications where a person voice needed to be amplified.Megaphone conical shape cardboard with riveted seam, nickel plated reinforcing ring, mouthguard Made in the USAflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, megaphone, loud hailer -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Newsletter - City of Moorabbin Historical Society Apr 2007, April 2007 1st Issue, April 2007
The City of Moorabbin Historical Society was formed c 1960 by a group of Moorabbin area residents who were concerned that the history of the area should be preserved. The approaching Centenary of the area as a Municipality in 1962 , - formation of the Moorabbin Roads Board 1862, - encouraged interest in the ‘History of Moorabbin’ and the Mayor Doug Clark was persuaded to call a public meeting for the formation of an Historical Society. Thirty citizens attended this meeting in November 1960 at which Mr Latham , Royal Historical Association, encouraged them to do so. Mr Tom .A. Sheehy, Author of ‘Battlers tamed a Sandbelt - Moorabbin 50 years a City ‘, moved for the formation of the ‘City of Moorabbin Historical Society’, and was seconded by Councillor E A Le Page. A vote was taken among attendees and Mr Tom A Sheehy was elected Foundation President, Cr E A Le Page Vice President, Mr J A Stretton Secretary and they and the other members “ began a programme of research in order to have reliable information available in time for the Centenary.” p148 Following a call for donations of items of Historical interest, the residents of the City of Moorabbin donated a wide variety of artefacts, photographs, household goods, farm machinery, letters, documents, clothing, and personal effects which have been carefully preserved by succeeding CMHS members and are displayed at Box Cottage Museum. Helen Stanley has produced a bi-monthly Newsletter, 2007 - 2013, for the members of the City of Moorabbin Historical Society that contains well researched interesting historical items, notification of upcoming events, current advice from Royal Australian Historical Society , Museums Australia Victoria and activities of Local Historical Societies. The Newslletter is an important record of the activities of CMHSA4 paper printed both sides x1 This is the first of the bi-monthly, City of Moorabbin Historical Society Newsletter produced by Society member and Secretary, Mrs Helen Stanley in April 2007. An introductory paragraph is followed by notification of upcoming meeting in May 27th 2007 at which Ms Vicki Court, RVHS, will talk about small historical groups and on 28th October 2007 Dr Graham Whitehead, City of Kingston Historian, will discuss ‘Murder’ in Moorabbin Shire. A photocopy of an advertisement, in the ‘Cheltenham Leader’ September 17th 1887, by Chemist J.H.Niemann , of Middle Brighton.. On the reverse side of the Newsletter Helen provides quotes from a Box Cottage Museum library book “ The Colonial Child” describing ‘larrikins’ in the streets of Melbourne c1880 and the damage to roadways caused by the heavily laden horse-drawn lorries. A roster of members is given for attendance at Box Cottage monthly open daysCITY of MOORABBIN HISTORICAL SOCIETY / APRIL 2007 NEWSLETTERcity of moorabbin historical society, sheehy tom a, le page e a, stretton j a, clark doug, stanley helen, court vicki, whitehead graham, neimann j a, chemists, pharmacy, druggists, melbourne, moorabbin, brighton, cheltenham, ormond, bentleigh, cheltenham leader newspaper, sharpe valma, sturt lesley, lawson nan, featherstone guy, the colonial child, box cottage museum, battlers tamed a sandbelt, moorabbin roads board, steel plateway, market gardeners, pioneers, early settlers, moorabbin shire -
Flagstaff Hill Maritime Museum and Village
Equipment - Spring Balance Scale, George Salter & Co, 1920s
Scales such as the subject item were used to measure commercial quantities, possibly grains and farm produce for quite large amounts of product. Bags of grain etc would have been hooked up and weighed. Salter has been a name long associated with weights and measures. The firm began life in the late 1760s in the village of Bilston, England when Richard Salter, a spring maker, began making the first spring scales in Britain. He called these scales "pocket steelyards", though they work on a different principle from steelyard balances. By 1825 his nephew George had taken over the company, which became known as George Salter & Co. George later established a manufacturing site in the town of West Bromwich, about 4 miles (7 km) from Bilston. West Bromwich Albion football club was formed from workers at this works site. From here the company produced a wide variety of scales including the UK's first bathroom scales. Other items were added to the range, including irons, mincers, potato chippers, coin-operated machines and the first typewriters made in the UK. The business thrived throughout the 1900s, and by 1950 it employed over 2000 people, still in the same area and owned by the same family.Salter is a British housewares brand developing products that span a wide range of core product categories, including scales, electrical, cookware. It is a market leader in kitchen and bathroom scales and one of the UK’s oldest consumer brands. Established in 1760, Salter has been developing precision products for over 260 years. It was acquired by Manchester-based consumer goods giant Ultimate Products in 2021 after they had previously licensed the brand for cookware and kitchen electrical since 2011.Scale, Salter's improved spring balance, warranted. Brass and iron. Weighs 0 to 60LBS. Long rectangular brass instrument with ring attached to top and hook attached below. Centre of rectangle has long vertical slot with short, horizontal bar that slides down the slot when an object is suspended from the hook, showing its weight on the numbered scale beside the slot.Marked ""SALTER'S IMPROVED SPRING BALANCE"" and "WARRANTED". Weighs 0 to 60LBS. flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, salter balance scale, weight measuring scale, weighing dry goods, domestic object, kitchen scale -
Churchill Island Heritage Farm
Clothing - Stole, Silk
Silk is a fascinating fabric and its existence dates back to antiquity. Several kinds of wild silk produced by caterpillars other than the mulberry silkworm, have been known and spun in China, South East Asia and Europe since ancient times. The major trade route between Asia and Europe was known as the Silk Road. Commercial silk is produced from the mulberry silkworm which produces two white filaments of thread held together by a glue-like substance called sericin which hardens on the cocoon in the air. These filaments are so fine that it takes anywhere from three to ten strands to make a useable silk thread. The molecular structure of the silk is such that the surface of the woven fabric has a sheen that reflects light to give a characteristic lustrous appearance. Silken fabric feels cool against the skin yet its structure is such that it holds body heat and mosquitoes and biting insects can’t sting through it. This luxurious silk stole would have been warm over an evening gown on a cold evening. At 269cm in length and 67cm wide it would be the ultimate in comfort and appears to be hand painted with chrysanthemum style flowers leading one to assume that the silk fabric is of Chinese origin, although it is unknown when the painting would have been done.Rectangular length of white silk with hand painted pink flowers and leaves.Packaged with note: "Hand painted silk stole from Janet Amess Collection".churchill island, silk, stole, jane, janet, amess -
Moorabbin Air Museum
Equipment (item) - Graviscope for Lincoln (Australian) RAAF Ident No G6C/3972, Graviscope for Lincoln
Description White plastic doubled sided Graviscope stored in protective leather carry case. Case is fitted with pair of press studs, pocket in front for holding instructions and is stamped "Graviscope / for / Lincoln / (Australian) / Manufactured by / Melb > W & G < Aust / R.A.A.F / Ident. No G6C/3972". Plastic graviscope consists of a 277mm white disc, printed on both sides, overlaid on one side by a 224mm disc and the other side by a 175mm disc. All discs located by central screw, to which is attached a 160mm long x 25mm wide clear celluloid strip. History / Summary The graviscope is a computing device, which in aircraft was used for measuring the centre of gravity in an aircraft. This would vary depending on crew, bomb load, fuel and stores carried. It was used in the British designed but Australian manufactured, Government Aircraft Factory (GAF) Lincoln heavy bomber, which was operated by the Royal Australian Air Force (RAAF) in the years following the Second World War. This aircraft was originally a derivative of the famous Avro Lancaster bomber. The Lincoln was used by both the RAAF and the Royal Air Force in operations against Malayan Communist terrorists during the Malayan Emergency, 1948-1960. This graviscope is of the type designed for and used by RAAF and RAF aircrew who operated this aircraft.Many by W and G Australia -
Royal Australasian College of Surgeons Museum and Archives
Samovar
Donated by Sir Henry Newland.The samovar stands 41cm high, and is 39cm wide across the handles. It is made of Sheffield plate, and dates from the late 18th century. It is supported on a square base with four cast lion’s feet attached by elaborate mounts at the corners. The main vessel or tank is circular, and set on a short columnar stand. These elements are heavily fluted. There are two elaborately decorated solid cast silver handles attached to the sides of the tank. A long spout with a cast ivory handled tap extends from the bottom of the tank. The lid is plainer, with a fluted and scalloped edge, and is capped with a finial. Inside the tank is a cylindrical immersion container for hot coals, a primitive type of heating element. There is a crest, probably that of the original owner, engraved on the shoulder of the tank above the tap. A samovar is a Russian tea urn but the College’s samovar is not a tea urn, as it does not include the stand or the teapot. Undoubtedly it was intended to provide hot water for tea, and the absence of a matching teapot indicates a cultural difference between the English and the Russians, in the way in which they went about brewing tea. It is a showpiece, intended for use and display in the reception rooms of the house. In the 18th century tea was still a rare and exotic import from the Orient, so the serving of tea was an important act of hospitality and a statement of social status.Sir Henry Newland was the College President 1929-1935Antique sheffield plated samovar with shell design and pressed rib border, finely worked casted handles, spout with swivel top, with tapered centre column, square shaped base with cast lions feet -
Puffing Billy Railway
7 NBH - Passenger Carriage - Excursion Car, 8/12/1919
7NBH - Excursion Car 8/12/1919 NWS Built new NBH SECOND-CLASS EXCURSION CAR. The H was recognising their use for "Holiday" traffic. 15 of these cars were built in 1919 and numbered 1-15. Two more were built in 1981, and numbered 16 & 17. Two extended versions for wheelchair passengers were built in 1981 & 1983. These were numbered 51 & 52 - a separate number series due to the different type of vehicle. Six, numbered 18-23, were built in 1997-98. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 18NBH entered traffic 19/4/1997; 19NBH on 5/12/1997; 20NBH on 19/12/1997, the others added in 1998. VR Service History *NBH 7.VA - 8/12/1919 NWS Built new - / 1/1929 - Modified AC Malco BO circa 1955 - Condemned - Puffing Billy Service History or Notes 8 Dec 1919 - Nos 7 to 15 NBH (new) delivered to UPPER FERN TREE GULLY after this date. Oct 2009 - Lifted. Mar 2013 - LiftHistoric - Victorian Railways Narrow Gauge - Passenger Rolling Stock: Excursion Car7 NBH - Passenger Carriage - Excursion Car made of wrought iron and timber7NBHpuffing billy railway, pbr, rolling stock , 7nbh, victorian railways narrow gauge - passenger rolling stock,, victorian railways, nbh - excursion car, -
Puffing Billy Railway
13 NBH - Passenger Carriage - Excursion Car, 8/12/1919
13NBH - Excursion Car NBH SECOND-CLASS EXCURSION CAR. The H was recognising their use for "Holiday" traffic. 15 of these cars were built in 1919 and numbered 1-15. Two more were built in 1981, and numbered 16 & 17. Two extended versions for wheelchair passengers were built in 1981 & 1983. These were numbered 51 & 52 - a separate number series due to the different type of vehicle. Six, numbered 18-23, were built in 1997-98. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 18NBH entered traffic 19/4/1997; 19NBH on 5/12/1997; 20NBH on 19/12/1997, the others added in 1998. VR Service History : 8/12/1919 NWS Built new VR Service History *NBH 13.VA - 8/12/1919 NWS Built new - / 4/1928 - Modified AC Malco BO circa 1955 - Condemned - Puffing Billy Service History or Notes 8 Dec 1919 - Nos 7 to 15 NBH (new) delivered to UPPER FERN TREE GULLY after this date.Historic - Victorian Railways Narrow Gauge - Passenger Rolling Stock: Excursion Car13 NBH - Passenger Carriage - Excursion Car13NBHpuffing billy railway, pbr, rolling stock , 13nbh, victorian railways narrow gauge - passenger rolling stock,, victorian railways, nbh - excursion car, -
Puffing Billy Railway
Victorian Railways Saucer Plate, May 1954 "5-54" = "month-year"
Victorian Railways Saucer Plate - Red & White Supplier to Victorian railways : Loftus Moran, Melbourne: Mr Loftus Henry Moran was well known in the tea trade. Originally employed by Griffiths Bros Ltd, he started his own business, Loftus Moran Pty Ltd, in 1909 In 1913 he purchased the tea business of McIntyre Bros, and later, that of Steele Bros, and absorbed them in his own company. He had a wide business connection among hotels and guest houses for supplying crockery and other supplies. Ref: DEATH OF MR LOFTUS MORAN (1944, May 27). The Argus (Melbourne, Vic. : 1848 - 1957), p. 4. http://nla.gov.au/nla.news-article11809686 1st Advertisement of the Plates in the papers: CHIPPED CROCKERY. Nothing is more objectionable than chipped crockery--besides its use is illegal. DURALINE Plates, manufactured by The Grindley Hotel Ware Co., are tough as raw-hide. This is why they are used by practically every hotel and institution in Australia. Obtainable only from LOFTUS MORAN PTY. LTD., Hotel Supply Specialists, 131 Queen's Bridge Street, Melbourne South Advertising (29 March 1933, ). The Argus (Melbourne, Vic. ), p. 7. http://nla.gov.au/nla.news-article4726734Historic - Victorian Railways - Refreshment Services crockery - plateCeramic Victorian Railways Saucer Plate - Red & White Victorian Railways ( in Red on fount of plate ) "DURALINE" ( in Black on back of plate ) super Vitrified GRINDLEY HotelWare Co England Loftus Moran Pty Ld Melbourne 5 -54 puffing billy, victorian railways, crockery, plate -
Geelong Naval and Maritime Museum
Ceramic - Pot Fragment
The fragments of pot were found in 20 meters of water off of the South Channel Light, Port Phillip Bay. They are believed to be from the ship 'Hurricane' that sank in the vicinity on April 22,1864. The Hurricane was a three-masted iron ship, weighing 1198/979 tons. Built on the Clyde, Scotland in 1853. Lbd 214.9 x 30.7 x 20 ft. It was one of the first large iron sailing ships built for the Australian trade during the gold rush, and one of the fastest clippers on the Australian run. Her maiden voyage from Glasgow to Melbourne with 256 passengers took eighty-seven days, and the return to London eighty-three days. In 1856 she was converted to an auxiliary screw vessel and continued in the Australian trade until lost. Under Captain D.H. Johnston (former master of the Lightning), inward bound from Liverpool with 2000 tons of general cargo and 19 passengers, grazed a rock entering Port Phillip, sank off Arthurs seat, 21 April 1869. Passengers and crew transferred to the tug Titan. The wreck was relatively intact until the late 1960s, when it was blasted by Ports and Harbours engineers who considered it to be a navigational hazard, spreading wreckage over a wide area. Despite this, the stern of the ship still stands about three metres above the sand. The wreck of the "Hurricane" in Port Phillip Bay and the accompanying story of the nearby lighthouse, the South Channel Pile Light, tell the story of early shipping within Port Phillip Bay, pre federation. 3 pieces of encrusted pot fragment all roughly A5 paper sizeshipwreck, port phillip bay, ship hurricane, south channel light -
Federation University Art Collection
Drawing - Artwork, 'Resilience' by Xersa
XERSA (1952- ) Born as Christine Limb in Daylesford, Victoria An artist with over 40 years of experience in drawing, painting and sculpture installation, who studied Fine Art at Ballarat Institute of Advanced Education (now Federation University) from 1969 to 1970, and Fine Art and Industrial Design at RMIT from 1971-1974. During the 1970s Xersa worked as a textile designer and then established a design studio in Melbourne. Xersa has been a finalist and awarded in important Australian art awards including the Dobell Prize for Drawing, and internationally exhibited contemporary artist with experience of over 20 solo and 40 group exhibitions in major galleries and Museums alongside other significant artists. My recent work is figurative, thematic of resilience and regeneration which relates to world-wide natural and non natural events that affect our health recalling our strength and determination. The allurement of drawing began before crawling and ever since then, kept vision of consistent excellence to becoming the best and to draw better than Picasso and Matisse. I hereby thank everyone for the rewarding experiences you have imparted to me so far, each mark made by my hand has the memory of you all within them. May there be much more.Drawing mounted onto perspexxersa, available, alumni, portrait -
Wodonga & District Historical Society Inc
Photograph - Codling Collection 01 - Melba Theatre Wodonga and its Demolition, c1970s
Miss Olive Codling was a Foundation Member and a Life Member of the Wodonga Historical Society. Many of her prize-winning photos are held in the Society Collection. She also held a range of roles and committee positions in a wide range of Wodonga community organisations. MELBA THEATRE, WODONGA operated in the Shire Hall building on the corner of High Street and Melbourne Road (Elgin Street), Wodonga. The Shire Hall was built in 1890. The date on the facade of the building represents the date of the formation of the Shire in 1876. In December 1929, Enterprise Pictures were screening films in the open air theatre adjacent to the Shire Hall or sometimes in the hall itself. In 1943 “Melba Theatre, Shire Hall” was advertised with that name for the first time. In 1948 Mr K Bounader, a picture proprietor from Holbrook with 39 years in pictures behind him assumed control of the Melba Theatre, Wodonga. The Bounader family continued to run the theatre well into the 1960s. The hall was also used for functions such as school socials and concerts. Competition from drive-in theatres and television had an impact on theatre audiences. Finally, the Melba Theatre screened its last film in 1968. A school speech night in 1969 is the last known event in the Melba Theatre. It was demolished along with the Shire Hall in 1971 and replaced with a supermarket and car park.These images are significant as they document an historic buildings in Wodonga which played an important part in the social life of the community.2 black and white photos of the Melba Theatre in Wodonga and its demolition Over doorway: "MELBA THEATRE"high st wodonga, melba theatre, wodonga buildings -
Melbourne Legacy
Pamphlet, Legacy does more than sell badges
A brochure promoting Legacy in the 1990's. Some of the text includes sections on How is Legacy special?; Legacy and the young; Legacy and the Aged. "Legacy and the young. Legacy is committed to the nurturing of its young members, known as Junior Legatees. Legacy helps to make sure stye get the education their fathers would have wished for them and to ensure their families enjoy a normal lifestyle. In addition to the 3,000 Junior Legatees throughout Australia, Legacy also cares for the handicapped dependants of its "family". Recreational outings and educational programs are arranged on a monthly basis. These activities aim to develop self-dependence and once a year, a two-week holiday camp is held - a highlight of the year - and lifelong friendship are often made. / For all its young members, healthy outdoor activities are arranged, financial aid, counselling, tutoring and guidance are given to ensure they are able to make the most of the opportunities open to them. Legacy and the Aged. Nowadays, the Australian population has a large proportion of elderly. The majority of Legacy widows had husbands who served in the World Wars. And so Legacy's emphasis has shifted to the needs of the ageing widows. . . Legacy widows meet for a wide range of activities, including cards, crafts, indoor bowls and theatre excursions. . . This represents a valuable social network and complements the volunteer care given by Legatees."A brochure that promotes Legacy in the 1990's.Colour brochure "Legacy does more than sell badges", folded into 4 sections.legacy promotion, fundraising -
Flagstaff Hill Maritime Museum and Village
Print - Religious Print, T. Noyes Lewis, The Cross of Glory, Mid to late 19th century for the print, the reframing appears to date from the 1960's
The picture was framed by business, Leighton House, paint and art merchants at 346 Little Collins Street, Melbourne. It was made to order, number 6777. The business was also called The Leighton Gallery of Art and was owned by W & G Dean Pty Ltd. The phone number on the label "MU 8291" indicates that the picture was framed circa the 1960s or earlier, during the time that Melbourne was using 6-0digit alpha-numeric numbers. Below the picture is an excerpt of a hymn "The Head that Once was Crowned with Thorns" by Thomas Kelly: The head that once was crowned with thorns Is crowned with glory now; A royal diadem adorns The mighty Victor's brow. The Cross He bore is life and heath, Though shame and death to Him; His people's hope, his people's wealth, Their everlasting theme. This picture was part of the original furnishings of the St Nicholas' Mission to Seamen's Church at 139 Nelson Place, Williamstown, Victoria. 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. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centr4es in over 200 ports world-wide 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 as 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 picture is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857. The items in our collection from the Missions to Seamen in Williamstown, Victoria, have historical and social significance. They show that people of the 1800s and 1900s cared about the seafarers’ religious, moral, and social welfare, no matter what the religion, social status or nationality. It had its origins in Bristol, England when a Seamen's Mission was formed in 1837. The first Australian branch was started in 1856 by the Rev. Kerr Johnston, a Church of England clergyman, and operated from a hulk moored in Hobson’s Bay; later the Mission occupied buildings in Williamstown and Port Melbourne. Picture, print of "The Cross of Glory", rectangular, framed print on matt. It depicts Jesus Christ on a cross with an angel on each side, at his feet. He is wearing priestly robes and a gold crown on top of thorns on his head. In the background there is a rainbow and clouds. The text below the picture includes "From the picture by T. Noyes Lewis". Lines from a hymn are also printed below the picture. The back of the picture has pencilled numbers in three places plus a printed label with the framer's details. "From the picture by T. Noyes Lewis". Backing paper has pencil "6777" in two places. Label has bencil "677-" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, the cross of glory, print, t. noyes lewis, leighton house, home decoration, religioius picture, church furnishing, w & g dean pty ltd, leighton gallery of art, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, ladies harbour light guild, missions to seamen victoria, mission to seafarers, flying angles club, st nicholas mission to seamen church williamstown, mission to seamen williamstown, st nicholas seamen’s church flagstaff hill, 139 nelson place williamstown -
Flagstaff Hill Maritime Museum and Village
Plaque - Commemorative, circa August 1947
This commemorative plaque was made for the round, stained glass window titled “Christ showing the helmsman the way” that was originally installed at the St Nicholas Seamen’s Church in Williamstown. The window was donated as a memorial to the members of the Merchant Navy whose lives were lost in the Second World War, 1939-1945. The donor was the Williamstown Lightkeepers Auxiliary, an independent ladies association working with the Williamstown Missions to Seamen (re-named the Mission to Seafarers in the year 2000). The window was officially dedicated on December 14, 1947 by Geelong's Anglican Bishop, Rt. Rev. J.D. McKie. In the early months of 1948 this bronze plaque was also placed in the chapel above the altar. The Williamstown St Nicholas Seamen’s Church ceased operation in 1966. In 1979 the Victoria Missions to Seamen donated this round, stained glass window and the memorial plaque to Flagstaff Hill Maritime Village, along with many other items and furnishings. These items have been used to simulate the Williamstown Mission and Chapel as much as possible. THE MISSIONS TO SEAMEN 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 world-wide 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 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 plaque is significant for its connection with the round Sanctuary window above the altar in the chapel at Flagstaff Hill. The window was originally installed at the chapel of the St Nicholas Seamen’s Church in Williamstown in 1947, and is listed on the Victorian War Heritage Inventory No. 196973 as an object of significance. The plaque is also significant for its recognition of the members of the Merchant Navy who lost their lives in service to our country during World War II. The plaque is important for its connection with the Williamstown Lightkeepers’ Auxiliary and Missions to Seamen, which were dedicated to supporting seafarers from all over the world. The funds the group raised helped to furnish the St Nicholas Seamen’s Church in Williamstown, including the Sanctuary window, pews, carpets and hangings. These items are now part of the St Nicholas Seamen's Church Williamstown Collection at Flagstaff Hill Maritime Village, Warrnambool. Plaque: rectangular brass commemorative plaque. Each corner has a round hole. Inscription impressed into the metal and filled in with black paint. It is now part of the Williamstown Missions to Seamen Collection. “IN MEMORY OF THE MEMBERS / OF THE MERCHANT NAVY WHO WERE LOST / IN THE SECOND WORLD WAR 1939-1945 / FAITHFUL UNTO DEATH / THE WINDOW ABOVE THE ALTAR / WAS ERECTED BY THE WILLIAMSTOWN / LIGHTKEEPERS AUXILIARY / 1947.”flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, mission to seamen williamstown, st nicholas seaman’s church williamstown, missions to seamen victoria, mission to seafarers, lightkeepers auxiliary, ladies harbour light guild, 139 nelson place williamstown, religion, religious service, sailors rest, bethel sailors’ church, bethel floating church, e. s. & a. bank williamstown, christ directing a sailor, christ showing the helmsman the way, quartermaster’s hand on the wheel, stained glass window, church window, religious window, sanctuary window, memorial window, war memorial window, victorian war heritage inventory, victorian heritage database, merchant navy ww2, 1939-1945, anglican church, bishop mckie, flying angel club, williamstown lightkeepers' auxiliary, ladies' harbour lights guild, commemorative window, memorial plaque, merchant navy, ww ii -
Bendigo Military Museum
Uniform - MESS DRESS, ARMY, 1972-1973
Uniform Mess Dress issued to "Kevin Finch".Mess Dress style, black colour wool/polyester fabric jacket and trousers. Black colour polyester fabric lining. 1. Jacket - collar with two lapel badges, gold, silver and black metal with crown, star, laurel leaves and lettering "ER/ ROYAL AUSTRALIAN CORPS OF TRANSPORT". Five front pockets - two top patch pockets with button down flaps, at waist fob pocket, two lower inset pockets with flap. Top of the sleeves have three gold colour fabric rank stripes = Sergeant. Gold coloured plastic buttons with shank and metal pin with raised emblem and lettering. Crown, RACT, ER, metal belt keepers. 2. Belt - fabric as jacket, gold colour plastic buckle with two pins with black colour plastic button. Belt sits in metal belt keepers on jacket. 3. Trousers, two side pockets, fob pocket, back inset pocket. Metal and nylon zipper fly with metal hook closer. Black plastic buttons inside on waistband for braces. red colour wool fabric 4cm wide stripe down each side seam. 1. & 3. White cotton fabric manufacturers labels - inside right pocket and waistband.Manufacturers information on labels - black ink print. 1 & 3. "KEITH COURTNEY PTY LTD/ VICTORIA/ 1972-1973/ ^/ NAME/ SERVICE NO." Black ink stamp "FINCH, K".uniform, army, mess dress -
Flagstaff Hill Maritime Museum and Village
Award - Trophy, c. 1886
This silver trophy is named "Sir W. Clarke's Trophy" after its donor. Sir William John Clarke, Baronet, who was a citizen and philanthropist, well known in Melbourne and throughout Victoria. He gave donations to many public projects including Melbourne University and was a patron of many and varied sports. He encouraged the defence services with prizes for competitions among both military and naval forces. In colonial Australia in the 1880s there was an increase in the size of the colonial military forces, rising from 8,000 in 1883 to 22, 000 in 1885. In 1885 there was a return of unpaid volunteer soldiers, along with a fear of a Russian attack on Australia. As a result, the Sir W.J. Clarke's Trophy was given as a prize in 1885 to Victorian Militia Garrison Battery competition winners, for artillery firing target accuracy. On 12th December 1885, the conclusion of the first artillery competition for Sir W. Clarke's Trophy was held at the Williamstown battery. The first winner of the Sir W. Clarke's Trophy was the Geelong Garrison Battery, with the prize Sir W. Clark's Trophy presented to them in 1886. In 1887 Warrnambool Garrison Artillery, under the command of Major W.S. Helpman, was the proud winner of the Sir W. Clarke’s Trophy. The contest was held at Point Gellibrand with the trophy formally unveiled at the Warrnambool orderly-room on 3rd August 1887. In June 1892 the annual competition was held at the Gellibrand battery in Williamstown. The canvas targets were moored at sea and fired upon from three breech-loading guns mounted on disappearing carriages. Each team was allowed 4 shots fired from each of the 3 guns. An article in the Portland Guardian stated that "the Warrnambool team is certainly looked upon as the certain winners." The same article reported that In this particular year the Government withdrew its previous award of 10-pound cash to the men of the winning team, described in the Portland Guardian as a petty economy of the Government. As the Warrnambool Militia Garrison Artillery had won the Trophy, for the third time, they became Absolute Possessors of the prize. The Trophy is locally significant to the community of Warrnambool for its connection to the Warrnambool Volunteer Rifle Corps., which formed part of the original Warrnambool Garrison to protect the Warrnambool Harbour. The site of the 1888 Warrnambool Garrison and Fortifications is Victorian State Heritage-listed is significant for its intact and operational nature and is one of the best-preserved pieces of Victoria's early colonial heritage.This is the Sir W. Clarke's Trophy for the Victorian Militia Garrison Artillery, first presented in 1886. The silver trophy with lid rests on a square black timber base that displays award shields on each side edge. Inside the hollow trophy is a removable copper alloy bowl with a wide edge. The inner walls of the trophy are unpolished and there is a metal bracing plate between the sides and fitted metal bolts with nuts and washers. near the base. The large, elaborately decorated, silver bowl has a conical pedestal, two handles on the top edge of the bowl and a matching fitted lid. Much of the decoration is three-dimensional. Fine, detailed decoration includes a semi-kneeling figure with an upturned face on top of the lid, vine-like handles resting on necks of swans with outspread wings, figures seated on a ridge, two on each side, with ends of limbs hanging over the ridge, two holding lyres, patterns of leaves, flowers and draped ribbons. The timber base is painted black on the outside. The engraved silver shields around its sides have inscriptions of trophy winners and the name of the trophy. There is a handwritten, pencil inscription of the date 1887 under the timber base. The first award was made in 1886 and the last in 1892. The Warrnambool Garrison wond this trophy three times, including the last award given.Front centre large shield; “VICTORIAN MILITIA / GARRISON ARTILLERY / SIR W. CLARKE’S / TROPHY” Left side, right shield; “1886 / WON BY / GEELONG / GARRISON BATTERY / Major J PRICE / COMMANDING OFFICER” Front, right shield; ” 1887 / WON BY / WARRNAMBOOL / GARRISON ARTILLERY / Major W.S. Helpman / COMMANDING OFFICER” Left side shield: “1888 / WON BY / NORTH MELBOURNE / Garrison Battery / Major F.R.Y. Goldstein / Commanding Officer” Right side, left shield; “1889. / WON BY / WARRNAMBOOL / Garrison Battery / Major W.S. Helpman / Commanding Officer” Right side, centre shield; “1890 / WON BY / HARBOUR TRUST / BATTERY / Major J.H. Haydon / Commanding Officer” Right side, right shield; “1891 / WON BY / WILLIAMSTOWN / BATTERY /l Major W.H. Hall / Commanding Officer” Back, left shield; “1892 / WON BY / WARRNAMBOOL / Garrison Battery / Major W.S. Helpman / Commanding Officer” In pencil underneath timber base “1887”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sir w. clarke's trophy, warrnambool volunteer rifle corps, statistics of warrnambool volunteer rifle corps, warrnambool volunteer rifle company, warrnambool rifle volunteers, warrnambool garrison, 1886, 1887, 1888, 1889, 1890, 1891, 1892 -
Bendigo Historical Society Inc.
Clothing - AILEEN AND JOHN ELLISON COLLECTION: FLORAL DRESS
Pink, purple, green and grey floral patterned dress. Rayon fabric with smooth surface. Sleeveless bodice with wide shoulder straps. The shoulder straps widen from 6cm at the front across the shoulders to attach at either side of centre at 14cm. Back of the bodice is made of four straight pieces from waist to above bust line. The front of the bodice is made from three pieces with centre piece dipping. Narrow at front because gathered in to U shape at centre front at waist. Across the bust line are two pieces of fabric with horizontal folds to create fullness. The pieces are joined at centre front with a decorative knot of fabric. The bodice and shoulder straps are lined with cream coloured net. Two darts at front and two at back from waist. The full length skirt is made from two pieces at the front and the back is made from four pieces. Back of the bodice inverted at skirt. Back opening at centre back with 26cm metal zipper. Hook and eye above zipper. On either side of centre back are two folded pieces of gathered fabric attached at waistline to create the effect of a large bow with tails. Attached at the waist on each hip are two padded sections of fabric 39cm x 10cm, gathered at waist.costume, female daywear, dress -
Bendigo Historical Society Inc.
Clothing - MAGGIE BARBER COLLECTION: FULL LENGTH LONG SLEEVED, BLACK BEADED DRESS, Late 1800's
Clothing. High stand-up embroidered net collar-close fitting to the neck, and fastening at the back with now 4 metal hooks and loops (one hook missing) and edged at top and bottom with tiny black beads. Five metal ''curved wires'' 7 cm long, are spaced around the up right ''collar'' (to hold in place). The embroidered net forms a V shaped panel at the centre front, and has 15 silk covered oval buttons .8 cm long, from throat to lower bodice. This panel is bordered by embroidered and beaded braid, 7 cm wide and giving a cross-over effect. Cotton tape inside waist 66 cm long fastens with two metal hooks and eyes.Under this lace cross-over, the bodice is shirred and pleated, to give fullness for movement. Pleats are ''caught-in'' at the waistline. An elbow length over-lay of sheer silk fabric, edged with the beaded braid. The sleeves are silk fabric to the elbow, and then narrow in to a three hook plackett at the wrist. This lower sleeve with a 2.5 cm lace frill, and a spotted tulle fabric, and ''dotted'' at the upper side with a double row of tiny black beads. A false tucked effect at opprox knee level at back of skirt. Back hemline extends to a small ''train''. Hemline is heavily weighted.costume, female, full length long sleeved black dress -
Bendigo Historical Society Inc.
Clothing - JOHN KENNETH MARTIN COLLECTION: WW2 ARMY UNIFORM JACKET, 1939-1945
Clothing, khaki woollen WW2 army uniform jacket. Single breasted with four brown metal AMF buttons (2 cm). Two breast pockets, (16 X 18 cm) with fold over tabs. All button tabs fastened with 1.5 cm metal buttons. Long sleeves with stitched down cuffs with V shaped peak on upper side. Both sleeves lined with cream and blue striped cotton fabric. 30 cm split at centre back from hem. Button down epaulettes on each shoulder with three captain's pips and two black stripes. Cloth badges on top of each sleeve. 1. Navy and red unit colour, (3 cm X 2.5 cm). 2. Light green, brown and blue colour (5 X 5 cm) (unknown). 2.5 X 2.5 cm square metal badges on each corner at front of collar. 5.5 cm wide cloth belt with metal buckle. Belt attached on side seams at waist by leather tabs threaded through belt keepers and fastened with 1.5 cm buttons. Cap belonged to John Kenneth Martin, padre in 2nd Australian Corps AIF. Served overseas as a Chaplain from 1940-1945. Old box 314Y.Name tag stitched under collar, and inside back '' J.K.Martin''.costume, military, army uniform jacket ww2 -
Brighton Historical Society
Clothing - Dress, Day dress, circa 1820
This dress, which was made around 1820, was passed down through five generations of a single family before its donation to Brighton Historical Society in 2007. It originally belonged to a great-grandmother of Margaret Reynolds (1881-1958) of Hertfordshire, England, who herself came into possession of the dress around the early twentieth century. Having no daughters of her own, in 1945 the 64-year-old Margaret sent the dress as a Christmas gift to her niece, Margaret Willoughby Reynolds (1907-1996). In the letter accompanying the parcel, donated to the Society with the dress, the elder Margaret writes that she loves the dress very much but has now outgrown it. She makes reference to her own mother Mary Reynolds (nee Lloyd)'s pleasure at seeing the dress worn, indicating that it may originally have belonged to one of Mary's grandparents. She had two requests of her niece: first, that the younger Margaret wear the dress on Christmas Eve as a treat for her Mary (the letter includes styling advice on how the dress should be worn and accessorised), and second, that she one day pass the dress on to her own daughter or niece. In March 1968, the younger Margaret gifted the dress to her Australian-born niece, Dorothy May England (nee Reynolds, 1924-2013), along with a letter of her own. Dorothy, a Bayside resident, donated the dress and both letters to the Society in 2007. The letters paint a picture of the significance of the dress within the Reynolds family and its journey from England to Australia.A white, mauve, purple, red, and green paisley / floral printed cotton day dress from circa 1820. The day dress features a wide scooped neckline, with a dropped shoulder line. At the head of the sleeve is has three lines of gathering creating a narrow arm hole around the shoulder, flaring out into a leg of mutton sleeve. The sleeve finishes neatly at the wrist with a cuff that secures with two brass hook and eye closures. The dress bodice is open at the centre front and secures with six hook and eye closures to the empire line waist. Over the breast on either side of the opening are six diagonal pleats, pressed and secured facing towards the neck. This pleated detail is on a facing that extends from shoulder to shoulder and finishes with a bound edge. The remainder of the front bodice is plain and secures to the skirt at the empire waistline. The skirt pleats onto a binding, wrapping around the torso and securing to the bodice with eight hook closures. At approximately knee, height the skirt has an additional gathered flounce with the dress finishing at approximately ankle length. From the back, the bodice is plain and the skirt is gathered and sewn to the bodice at Empire line. Alterations to the garment have been made with the addition of hooks and eyes. The garment is generally in good condition although the skirt at the front shows evidence of damage and subsequent repair.day dress, 1820s, migration, dorothy may england, margaret willoughby reynolds, margaret reynolds