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Lara RSL Sub Branch
Belt, Webbing Belt
This belt belonged to a WW1 Australian Anzac who most probably, because of the buttons and badges, served on the Western Front. Records destroyed in 1969 bush fires at Lara means we are unable to determine who owned this in the RSL. The belts is called a 'stable belt' and the one you have acquired is an early example with a leather pocket. It became common in WW1 for both, leather belts (especially that from the 1903 bandolier equipment as worn by those in the Boer War), and stable belts to be used to hold badges collected from fellow soldiers and for that reason it was often known as a 'souvenir belt'. The evolution of the stable belt: It seems that stable belts began to become popular across the Army as a whole around the turn of the 20th century, although they probably originated with the cavalry a little earlier sometime in the 1880s/1890s. All units at that time had horses on their establishment and those soldiers told off to attend them reported for Stable Parade in Stable Dress which consisted of very high waisted and pocket less breeches, or trousers, held up by braces and collarless, woollen flannel shirts with sleeves rolled up. This was to facilitate the rigorous physical effort and flexibility of movement necessary for mucking out and grooming. Braces at that time had no elastic as rubber was expensive, they were made of cotton with no 'give' whatsoever and so soldiers commonly allowed the braces to flop down from the waist so that they could bend over freely. For trousers that fitted loosely (due to the high waist) this meant that they tended to slip down and at first soldiers cinched them in with leather belts. Later on the regimental saddlers began to make belts from the same, plain canvas or wool strapping used for the horses Surcingle and utilising the same double leather strap and buckle arrangement for security (if one strap broke the other would hold and prevent the saddle from coming unseated). One particular feature of these early stable belts was a sewn on (or in) pocket, secured by a stud or clip, within which loose change could be kept, or a pocket watch, as there were no pockets in the breeches. As you might imagine these became very popular as the pocket was useful and the extra breadth afforded by the canvas strapping made them very comfortable. Around about the turn of the 20th century it began to be popular for officers to wear neckties in regimental colours both for sport and less formal, country dress. This habit probably began with the Queens Household troops and Line Cavalry, but quickly spread throughout the Army and it appears as if this use of regimental colours spread to the canvas or wool strapping used to make stable belts. For this reason the stable belts invariably followed the same colour scheme (but not always the same pattern arrangement) of regimental neck ties.This belt is an example of what Australian troops collected when on the Western Front during WW1 and when on leave.Webbing Belt with Badges and Buttons WW1See Mediaarmy, australian army, western front, aif, s.w.ellis, service number 640, 2 m.g.c., buttons, badges, belt, stable belt -
Kew Historical Society Inc
Photograph, Frederick Harwood Noble and Winifred Noble, c.1890
One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.A series of photographs that depict family life in the period 1890-1914. The family is significant and the children achieved success in a number of fields.Framed large albumen silver photograph of Frederick Harwood Noble and his sister Winifred in the rear garden of the family home in Coburg (sic). Later Label on rear reads ‘F.H. Noble, W.M. Noble’.winifred noble, frederick noble, charnwood (coburg), station street (coburg) -
Kew Historical Society Inc
Photograph, The Noble family, c.1890
One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.A compelling group of family portraits. Members of the family were to achieve important roles as managers, journalists and writers.Framed and gazed albumen silver print of Mr and Frederick Warner Mrs Noble in the garden of their home in Coburg (sic) with their three children. There are minor losses to the gesso and paint of the original frame. Later labels to rear include: "Mr Noble, Mrs Noble’. ‘Frederick, Winifred, Wilfred"noble family, charnwood (coburg), station street (coburg) -
Kew Historical Society Inc
Photograph, Portrait of Frederick Noble, c.1912
One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed portrait of Frederick Noble"Frederick Noble". The name "PRENTICE" is handwritten below the label.noble family, frederick noble -
Kew Historical Society Inc
Photograph, Portrait of Mrs P.W. Noble, c.1870
One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed oval portrait of Mrs P. W. Noble in a carved wooden frame."P. W. Noble" handwritten on label on reverse. noble family -
The Beechworth Burke Museum
Photograph - Carte de Visite, James Bray, 1870
This photograph was taken in c.1870 and depicts Aaron Sherrtt who is best known for his involvements with, and eventual assassination by, the Kelly gang. He stands upright in the image with his arm leaning on a podium which reaches his hip. He is wearing an outfit for which he was infamous. Richard Warren, son of the proprietor of the Ovens and Murray Advertiser once stated that “anyone seeing [Aaron] coming down Ford Street would ask, “Who the hell’s this? Some advance agent for the circus?”’. The outfit Aaron wore for this particular photoshoot is reminiscent of this quote. He wears an unusual spotted shirt with a waistcoat and a sash is tied at his waist. He wears boots which turn up slightly at the toes. The hat is a “pork pie” hat which is worn in the typical “Greta Mob” style with the chinstrap under the nose. Aaron Sherritt was born in 1854 in Prahran, Melbourne, to Irish Protestant parents John and Anne. Sherritt stood at 5 foot 10. He had hazel eyes, dark brown hair and pale olive skin. Sherritt was childhood friends with Kelly Gang member, Joe Byrne, having previously attended the same school. Both men had a reputation for stealing horses and on one occasion, after stealing and butchering a cow, Sherritt and Byrne were convicted to six months in Beechworth Gaol (1876). Sherritt, along with Byrne, were reportedly recruited by Ned Kelly in 1877 in stealing stock; however, Sherritt never became a fully-fledged member of the Kelly Gang. Nevertheless, Sherritt scouted for the Kelly Gang in 1878. He later struck a deal with the police (specifically, with Chief Commissioner Standish) to save Joe Byrne's life in exchange for leading the police to the other members of the Gang. From then on, Aaron Sherritt lived the dangerous life of a double agent, providing police with what is assumed today to have been outdated or incorrect information in return for money. On the 26th of June 1880, Aaron Sherritt was murdered in the Woolshed Valley. He was approximately 23-25 years old at death. This event marked the start of the Kelly gang’s last days. Sherritt was murdered by Byrne in front of his wife, 15 year old and heavily pregnant Ellen “Belle” Sherritt and her mother Ellen Barry. Also in the Sherritt dwelling on this particular night were four policemen. The intention behind Sherritt’s murder was for the police to send word to Melbourne that the Kelly gang had murdered Sherritt and a police train would be sent to Glenrowan where the rest of the Kelly gang were waiting. This plan did not go as predicted and ultimately the Kelly gang fell at Glenrowan in 1880. This photograph was taken by James Bray who worked as a professional photographer in Camp Street Beechworth from 1870-1891. He was one of four men who photographed the Kelly Gang after the siege in Glenrowan in 1880. He is also renowned for his previous work photographing members of the Kelly gang. This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Artefacts and photographs pertaining to the Kelly gang are particularly valuable for Australian museums. This particular photograph is significant for its connection to Beechworth photographer James Bray who is responsible for many images depicting members of the Kelly Gang. The photograph is also of artistic significance as an example of a Carte de Viste dating to 1880 and it's connection to Aaron Sherritt.Sepia rectangular photograph printed on card. Obverse: J.E.Bray./ Photo/ Beechworth Reverse: Portrait & Landscape/ Photographer 5/ Aaron Sherritt J E Bray Signature Beechworth/ Victoria Beware (almost erased out) Negatives Kept. Copies 5I/.Each May/ Be Had By Forwarding Name And Address/ Accompanied With Remittance To/ The Amount Of Order/ Photographs Coloured In Water Colours 10237. kelly album, woolshed valley, 1870s, kelly gang, joe byrne, ned kelly, aaron sherritt, james bray, beechworth, burke museum -
Ruyton Girls' School
Photograph, Ruyton Girls' School, 1952
Depicted are 14 students comprising the the 1952 Ruyton Girls' School hockey team. The photograph is an official school portrait taken outdoors on a patch of grass with a leafy bush visible in the background. The students are all dressed in light coloured shorts with a collared, buttoned blouse, wool blazers, white socks and white sneakers. Six girls are kneeling in the front row, and eight are standing up in the back row. All of the students are holding their own hockey stick. The idea of field hockey for female players was brought to Victoria by two sisters, Lillian and Margaret Irving, who had first seen girls playing it during their travels in England in 1902. By 1903, the Irving sisters were joint headmistresses of Lauriston, a school they had founded two years earlier. Both had deep connections to Ruyton Girls' School through their time as teachers at the older school during the 1880s-1890s. For Lilian Irving, this had included seven years as Ruyton's co-Principal with Miss Eliza Bromby from 1888-1895. With these links it was only natural that Ruyton students would join Lauriston to try out the new game. On a vacant block on the corner of Mercer and Malvern Roads, students from Ruyton and Lauriston Girls' Schools had assembled to play Victoria’s first ever inter-school hockey match for girls. Some students from Melbourne Girls' Grammar School came along to watch the spectacle and assess the new game's potential. Hockey quickly caught on, and friendly games were soon being played amongst a number of Melbourne's girls' schools. An Association was formed in 1905, and the rules formalised. These included arrangements around the competition fixture and the length of games (35 minutes for each half). In celebration of their joint role in bringing field hockey to Victorian school girls, Ruyton and Lauriston have met for friendly re-enactment matches in 2003 and 2018. The photograph also illustrates the shift in hockey uniform and apparatus. In the early 1920s, Ruyton established instructions for playing attire: "skirts must be eight inches off the ground. No white petticoats...", and importantly, least any team get an unfair advantage, "hard-rimmed hats and hatpins must not be worn during play." Ruyton appears to have taken the latter instruction to heart, and adopted the soft tam o’shanter hat as seen in surviving photographs of early teams. The tam o’shanter may have been removed for play, but the blouse and long skirt had to be put up with. According to Lilian Irving they had "a horrid habit of parting company", and she was delighted to see the transition to a more comfortable tunic in later years. Another change she observed was the hockey stick itself, which originally were all of "uniform thickness from handle to head, about the thickness of a stout walking stick" and so very different from the hockey sticks that are used today.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photographs printed on matte photographic paper.Reverse: gton / Margaret Hanesho (?) / Helen Gordon / 1952 / Mary Macpherson-Smith /ruyton girls' school, kew, victoria, tennis, sport, women's sport, students, school, 1950s, uniform, lauriston, hockey, field hockey, hockey stick -
Ruyton Girls' School
Photograph, Ruyton Girls' School, 1950
Depicted are 13 students comprising the the 1950 Ruyton Girls' School hockey team. The photograph is an official school portrait taken outdoors on a patch of grass with a leafy bush visible in the background. The students are all dressed in light coloured shorts with a collared, buttoned blouse, wool blazers, white socks and white sneakers. Five girls are kneeling in the front row, and seven are standing up in the back row. All of the students are holding their own hockey stick. The idea of field hockey for female players was brought to Victoria by two sisters, Lillian and Margaret Irving, who had first seen girls playing it during their travels in England in 1902. By 1903, the Irving sisters were joint headmistresses of Lauriston, a school they had founded two years earlier. Both had deep connections to Ruyton Girls' School through their time as teachers at the older school during the 1880s-1890s. For Lilian Irving, this had included seven years as Ruyton's co-Principal with Miss Eliza Bromby from 1888-1895. With these links it was only natural that Ruyton students would join Lauriston to try out the new game. On a vacant block on the corner of Mercer and Malvern Roads, students from Ruyton and Lauriston Girls' Schools had assembled to play Victoria’s first ever inter-school hockey match for girls. Some students from Melbourne Girls' Grammar School came along to watch the spectacle and assess the new game's potential. Hockey quickly caught on, and friendly games were soon being played amongst a number of Melbourne's girls' schools. An Association was formed in 1905, and the rules formalised. These included arrangements around the competition fixture and the length of games (35 minutes for each half). In celebration of their joint role in bringing field hockey to Victorian school girls, Ruyton and Lauriston have met for friendly re-enactment matches in 2003 and 2018. The photograph also illustrates the shift in hockey uniform and apparatus. In the early 1920s, Ruyton established instructions for playing attire: "skirts must be eight inches off the ground. No white petticoats...", and importantly, least any team get an unfair advantage, "hard-rimmed hats and hatpins must not be worn during play." Ruyton appears to have taken the latter instruction to heart, and adopted the soft tam o’shanter hat as seen in surviving photographs of early teams. The tam o’shanter may have been removed for play, but the blouse and long skirt had to be put up with. According to Lilian Irving they had "a horrid habit of parting company", and she was delighted to see the transition to a more comfortable tunic in later years. Another change she observed was the hockey stick itself, which originally were all of "uniform thickness from handle to head, about the thickness of a stout walking stick" and so very different from the hockey sticks that are used today.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photographs printed on matte photographic paper.Reverse: Ruyton Hockey Team 1950. / 17 Cole / From left to right standing. / Helen Cole. / Left to right kneeling. /ruyton girls' school, kew, victoria, tennis, sport, women's sport, students, school, 1950s, uniform, lauriston, hockey, field hockey, hockey stick -
Ruyton Girls' School
Photograph, Ruyton Girls' School, 1951
The photograph depicts 12 young women students who were part of the 1951 Ruyton Girls' School hockey team. The students are all dressed in light coloured shorts with a collared, buttoned blouse, wool blazers, white socks and white sneakers. Three girls are kneeling in the front row, and nine are standing up in the back row. All of the students are holding their own hockey stick. The photograph was taken on School grounds, next to a pond which is no longer in existence at Ruyton. The idea of field hockey for female players was brought to Victoria by two sisters, Lillian and Margaret Irving, who had first seen girls playing it during their travels in England in 1902. By 1903, the Irving sisters were joint headmistresses of Lauriston, a school they had founded two years earlier. Both had deep connections to Ruyton Girls' School through their time as teachers at the older school during the 1880s-1890s. For Lilian Irving, this had included seven years as Ruyton's co-Principal with Miss Eliza Bromby from 1888-1895. With these links it was only natural that Ruyton students would join Lauriston to try out the new game. On a vacant block on the corner of Mercer and Malvern Roads, students from Ruyton and Lauriston Girls' Schools had assembled to play Victoria’s first ever inter-school hockey match for girls. Some students from Melbourne Girls' Grammar School came along to watch the spectacle and assess the new game's potential. Hockey quickly caught on, and friendly games were soon being played amongst a number of Melbourne's girls' schools. An Association was formed in 1905, and the rules formalised. These included arrangements around the competition fixture and the length of games (35 minutes for each half). In celebration of their joint role in bringing field hockey to Victorian school girls, Ruyton and Lauriston have met for friendly re-enactment matches in 2003 and 2018. The photograph also illustrates the shift in hockey uniform and apparatus. In the early 1920s, Ruyton established instructions for playing attire: "skirts must be eight inches off the ground. No white petticoats...", and importantly, least any team get an unfair advantage, "hard-rimmed hats and hatpins must not be worn during play." Ruyton appears to have taken the latter instruction to heart, and adopted the soft tam o’shanter hat as seen in surviving photographs of early teams. The tam o’shanter may have been removed for play, but the blouse and long skirt had to be put up with. According to Lilian Irving they had "a horrid habit of parting company", and she was delighted to see the transition to a more comfortable tunic in later years. Another change she observed was the hockey stick itself, which originally were all of "uniform thickness from handle to head, about the thickness of a stout walking stick" and so very different from the hockey sticks that are used today.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photograph printed on matte photographic paper.Reverse: Felicity Jacobs / Ann Dickinson / RGS011/1951/0002 /ruyton girls' school, ruyton, hockey, sport, school sport, field hockey, kew, melbourne, girls school, students, school uniform -
Flagstaff Hill Maritime Museum and Village
Equipment - Horse Harness, Glenn's Leather Goods, Early to mid-20th century
The early settlers of Victoria depended on horse drawn vehicles to farm, make roads and railways, deliver produce and transport people. Horse harnesses were an important requisite for all drivers and could be found wherever there were working horses. Horse Harnesses have played an essential role in different cultures throughout history. Simple, utilitarian horse harnesses made of leather straps and iron rings were being used in early China before AD 500 as well as ancient Greece and Rome allowing horses to pull chariots and ploughs. The Greeks and Romans were the first to use a "horse collar" which distributed the weight of the harness evenly across the horse's chest rather than relying on a "throat harness" that could damage a horse's throat or choke them. During the medieval period, European horse harnesses became more elaborate and decorative. Variations of different horse harnesses were also found in Native American and Middle Eastern cultures. Horse Harnesses usually have four basic components which include - 1. Communication - the bridle, bit and reins allows the driver to communicate instructions and commands to the horse, guiding its movement and direction. 2. Draft - the collar, hame straps, hames, traces and chains enables the horse to draw and pull the load efficiently by distributing the weight and transferring the pulling force to the vehicle. 3. Stopping - the breeching band, pole straps and breast strap helps to control or stabilise the horse and vehicle when moving downhill or stopping. 4. Support - the back pad, backband, belly band and back saddle keep the harness in the correct position and proper alignment. This dray harness is a plain, basic harness and reflects its working class origins. It was used by Mr. Oswald (Jack) Bourke with his horse and dray to firstly deliver drygoods from Sunbury to Melbourne in the 1930's and later (through the 1940's and 1950's up to 1961) when he worked on the garbage round for the Springvale City Council. This horse harness is a significant example of the equipment that was needed wherever horses were being used - particularly in the early years of Victoria's settlement by white settlers. Harnesses such as this example were used with drays, farming equipment, delivery carts and personal transportation.A leather and metal horse harness used with a horse and dray circa 1930's to the early 1960's. It is made up of a number of components. 1. A leather bridle with metal buckles and rings, blinkers and a metal single jointed, snaffle bit that has the initials M B stamped onto the leather. 2. A leather bridle with metal buckles and rings and a metal "straight bar" Eggbut snaffle bit. It has an elongated X design (with 4 dots) stamped onto the leather strap holders near each buckle. 3. A blue and white vinyl halter with one leather patched strap. The nose band and a chin strap are covered with woollen padding. 4. A pair of leather shaft protectors. They have lacing holes along each edge and a repeating design of small shapes (flowers, wings, crosses and arrowheads) which run along the front of each protector. 5. A leather strap with a stainless steel chain and catch and a maker's mark for "Glenn's Leather Goods, Pearcedale Victoria" stamped onto the end. 6. A wide leather strap covered with a webbing sleeve. It has two large metal rings and each end and one ring has a rope attached. 7. A leather strap comprised of three separate sections (two shorter and one longer) joined with two metal rings. The longer section has notches along its length and the shorter section at the other end has a buckle. It also had a maker's mark stamped on it but the mark is very worn and the writing is difficult to read. 8. An adjustable leather horse collar with two buckles and straps at the top opening and two "B's" stamped into the leather. The top of the collar is made from treated leather pieces stitched together and the underneath of the collar is untreated leather. It has a padded indentation running all the way around the collar for the hames to sit in. 9. Two pairs of long leather traces - each having a buckle and notched section at one end and each one is made with three lengths of leather spliced together. 10. A leather strap (with one spliced join) belonging to a horse harness with two shorter straps (each ending with a metal clip) attached to a steel D ring at one end. 11. Three assorted short leather straps - the top one has clips at each end and a buckle (for adjusting the length) in the centre, the middle strap has notches and a buckle and the bottom strap is white with notches and a buckle.Bridle with blinkers - "M B" Bridle - design showing an elongated X with a dot in each section stamped onto strap holder Shaft Protectors - stamped design of flowers, wings, crosses and arrowheads Strap with chain - "Glenn's leather goods / Pearcedale / Victoria" Leather Strap (with two metal rings) - Maker's stamp - "name indecipherable / SADDLER / ...OURNE" Collar - "B / B" Leather strap - flagstaff hill maritime museum and village, warrnambool, great ocean road, sunbury, springvale, dray, delivery dray, harness, horse harness, horse drawn vehicles, working horse, oswald (jack) bourke, bridle, horse collar, hames, shaft protectors -
Southern Sherbrooke Historical Society Inc.
Document - Helen Gibson obituary
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4th/19th Prince of Wales's Light Horse Regiment Unit History Room
Medal, Long Service and Good Conduct Medal
The British Army Long Service and Good Conduct medal was instituted in 1830. The medal is made from silver and is 36 millimetres in diameter. Until 1901 the medal's obverse contained an image of a trophy of arms with the Royal Arms in an oval shield in the centre while the reverse side contained the inscription "For Long Service and Good Conduct". The King William IV issue had the Royal Coat of Arms with the badge of Hanover on the obverse and a small suspension ring with a plain crimson ribbon. The small ring was replaced by a larger version in 1831. When Queen Victoria succeeded to the throne in 1837 the Hanover emblem was removed from the medal's obverse. In 1855, during the Crimean War, a swivelling scroll suspension was introduced similar to that on the Crimea Medal, followed in 1874 by small lettering replacing the original large lettering on the reverse side. On the succession of King Edward VII to the throne in 1901, the effigy of the reigning sovereign was placed on the medal's obverse. The reverse side remained unchanged, while in 1920 the swivelling scroll suspension was replaced by a fixed suspender. In 1930 the title of the medal was changed to the Long Service and Good Conduct (Military) Medal. It was also decided to add a fixed suspension bar bearing the text "Regular Army" or the name of a dominion country: Australia, New Zealand, Canada, India or South Africa. The medal was originally awarded to soldiers of good conduct who had completed 21 years service in the infantry or 24 years in the cavalry. In 1870, this qualifying period was reduced to 18 years for both the infantry and cavalry. During World War II officers could also be awarded this medal if they had completed at least 12 of their 18 years service in the ranks. Today, the Long Service & Good Conduct Medal (Army) is awarded to members of the British Army who have completed 15 years of reckonable service. A soldier who completes 15 years of reckonable service from the date of attestation or age 17½, whichever is later, shall be eligible to receive the medal. However, there are a number of offences which would normally preclude award of the LS&GCM. Awards are only made after a thorough check of a soldier's record of service. A Clasp to the medal was introduced in 1940. This can be awarded for an additional fifteen years' service. The Clasp bears an image of the Army Crest. When the ribbon alone is worn on a uniform a silver rosette denotes the award of the Clasp. The medal's ribbon was plain crimson from 1830 until 1917 when white stripes were added to both edges. An officer can be considered eligible for the award of the LS&GCM if 12 or more of the 15 years of his or her service have been in the ranks and provided that the other requirements for the award of the medal have been met. An Officer shall be eligible for the award of the Clasp if 22 or more of the 30 years of his or her service has been in the ranks and provided that the other requirements have again been met. Before 1 December 1977 18 years of service was required for consideration for the LS&GCM (Army). The vast majority of LS&GC medals are issued named to the recipient, with the name on the rim around the medal.Full size medal with ribbonREGULAR ARMY Recipient details on rim - not decipherablemedal long service good conduct -
Melbourne Legacy
Newspaper - Poem, The Army of the West by C.J. Dennis, 25 April 1929
A poignant poem by CJ Dennis about Anzac soldiers from World War 1. The date was located from Trove. The Army of the West BY C. J. DENNIS HERE was tramping, a tramping, a tramp of many feet. The young men, the strong men were marching in the street, Marching for a new land, at the Old World's call, With the sun upon their faces — straight lads and tall, The chosen of a leal land that yielded of her best. "Pack your kit," the soldier said, "for the ships sail West," Then Anzac, oh, Anzac! A new name on the tongue — A proud name and a precious name to mark the valiant young — The valiant young who went so gay across a troubled sea, The glorious young who slept so deep upon Gallipoli. There was tramping, a tramping, a tramp of weary feet. The spent men, the worn men, were marching in the street- Marching to the wild cheers, home at last from war, With a wisdom on their faces that we had not known before: Wisdom of the veteran, earned at our behest, "Now sound the call," the soldier said, "for the boys gone West." But Anzac, oh, Anzac! Dearly they bought the name Who lit upon Gallipoli that everlasting flame — The flame to light the path for men who live beyond their day; While in the West the glory grows, as soldiers drift away. There is tramping, a tramping, a tramp of steady feet. The grey men, the grave men are marching in the street; And maimed men and blind men and shattered men are here. But many a man he marches not who marched last year. Gathered to his comrades, to the Army of the Blest. "Close up the ranks," the soldier said, "for the boys march West." But Anzac, oh, Anzac! Surely no day shall come When that fame shall not be quickened in the roll of every drum; In the call of every bugle let the name be vibrant yet, In a great land of strong men — who never shall forget. There yet will be a tramping, a tramp of dwindling feet, As the last old, old men come marching down the street; Marching now with memories, phantoms at their side, To the cheering of their strong sons inheriting their pride; Inheriting a shining gift won in a bloody quest, "Harkl" the aged soldier says. "The bugles call us West." Then Anzac! Anzac! Oh, what a mighty cry- When that great hymn of greeting goes shouting down the sky, As the last recruit comes marching to the singing of the rest, And the last man answers roll-call in the Army of the West. It was in a folder of documents about the history of Legacy. Appears to have been mostly compiled by Legatee Cyril Smith as he has many hand written notes on miscellaneous pieces of paper (some are envelopes addressed to him). Some notes were typed up into a summary of the History of Legacy. Also documents relating to the first time Legacy approached the public for donations in September 1956, including newspaper articles that were reprinted, a schedule of information that was approved to be released to the press, and a list of potential donors that was circulated to Legatees in the hope they could contact the ones they knew personally or professionally. The documents from this folder have been added in seperate records (see 01262 to 01282). The folder was part of an attempt to capture history of Legacy, generally from the 1950s.The documents provide an insight into the working of Legacy, especially in the 1950s. Legatee Cyril Smith and others were detailing their experiences and knowledge for the future. This poem might have been included for its portrayal of Anzacs.A poem by CJ Dennis printed in a newspaper.history, world war one, poems, poetry -
Flagstaff Hill Maritime Museum and Village
Equipment - Water Canteen and Ladle, mid-to-late 19th century
The horizontal water canteen has been carefully designed to fit snugly on the hip when worn with the straps diagonally across the body. The ladle allows quick and easy scooping of the contents to refresh the lifeboat and rocket launching crew, and the survivors of the disaster Saving lives in Warrnambool – The coastline of South West Victoria is the site of over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. Victoria’s Government responded to the need for lifesaving equipment and, in 1858, the provision of rocket and mortar apparatus was approved for the lifeboat stations. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built for it on the Tramway Jetty, followed by a rocket house in 1864 to safely store the rocket rescue equipment. In 1878 the buildings were moved to the Breakwater (constructed from 1874-1890), and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost a hundred years the lifesaving and rescue crews, mostly local volunteers, trained regularly to rehearse and maintain their rescue skills. They were summoned when needed by alarms, gunshots, ringing bells and foghorns. In July 1873 a brass bell was erected at Flagstaff Hill specifically to call the rescue crew upon news of a shipwreck. Some crew members became local heroes but all served an important role. Rocket apparatus was used as recently as the 1950s. Rocket Rescue Method - The Government of Victoria adopted lifesaving methods based on Her Majesty’s Coast Guard in Great Britain. It authorised the first line-throwing rescue system in 1858. Captain Manby’s mortar powered a projectile connected to a rope, invented in 1808. The equipment was updated to John Dennett’s 8-foot shaft and rocket method that had a longer range of about 250 yards. From the 1860s the breeches buoy apparatus was in use. The apparatus was suspended on a hawser line and manually pulled to and from the distressed vessel carrying passengers and items. In the early 1870s Colonel Boxer’s rocket carried the light line, which was faked, or coiled, in a particular way between pegs in a faking box to prevent twists and tangles when fired. The angle of firing the rocket to the vessel in distress was measured by a quadrant-type instrument on the side of the rocket machine. Decades later, in about 1920, Schermuly invented the line-throwing pistol that used a small cartridge to fire the rocket. The British Board of Trade published instructions for both the beach rescue crew and ship’s crew. It involved setting up the rocket launcher on shore at a particular angle measured by the quadrant, inserting a rocket that had a lightweight line threaded through its shaft, and then firing it across the stranded vessel, the line issuing freely from the faking board. A tally board was then sent out to the ship with instructions in four languages. The ship’s crew would haul on the line to bring out the heavier, continuous whip line, then secure the attached whip block to the mast or other sturdy part of the ship. The rescue crew on shore then hauled out a stronger hawser line, which the ship’s crew fixed above the whip block. The hawser was then tightened using the block on the shore end of the whip. The breeches buoy and endless whip are then attached to the traveller block on the hawser, allowing the shore crew to haul the breeches buoy to and from the vessel, rescuing the stranded crew one at a time. Beach apparatus equipment - In the mid-1800s the equipment could include a line throwing set, coiled line in wooden carrying case, rockets, cartridges, breeches buoy, hawser and traveller block, line-throwing pistol, beach cart, hand barrow, sand anchor, crotch pole, and tools such as spade, pick, mallet and hawser cutter. Around the 1860s Warrnambool had a Rocket House installed beside the Harbour. This water canteen is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Water canteen and ladle; blue painted oval metal cylinder with a removable round threaded lid. Two adjustable leather shoulder straps are attached to the canteen through metal rings on the sides of the lid. A blue-painted copper ladle with a fixed, 45-degree angled handle is attached to the canteen with a length of string. The water canteen is designed to be carried horizontally.flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, lady bay, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, rocket crew, lifeboat men, beach rescue, line rescue, rescue equipment, volunteer lifesavers, volunteer crew, life saving rescue crew, lifesaving rescue crew, rocket apparatus, survival canteen, rescue canteen, dipper, cup, canteen and dipper, canteen and ladle, water canteen -
Federation University Historical Collection
Ballarat Teachers' College Ceremonial Collar, Unknown
Worn by the principal of Ballarat Teachers' College over black academic gown at formal assemblies. Ellwood was the Principal of the Ballarat Teachers' College. Ballarat Teachers’ College was opened on 04 May 1926, at S.S. 33 Dana Street, with an enrolment of 61 students. Its original staff consisted of the Principal, Mr W.H. Ellwood, M.A., M.Ed. (Chairman of the Teachers’ Tribunal from its inception in 1946 until 1954), Miss A. Bouchier, B.A., and Mr A.B. Jones, BA., (lecturers). In 1927 Miss P.A. Hamano joined the staff. In 1927 the college moved to the old Ballarat East Town Hall (remodelled for their use) in Barkly Street. During 1927 the numbers in the College were augmented by 26 Manual Arts students, who had formerly received their training at Ballarat High School. Manual Art students continued till 1930 when, on grounds of economy, their training was concentrated at Melbourne Teachers’ College. During the four succeeding years, approximately 60 students annually entered the primary course. Inclusive of Manual Arts students, and private fee-paying students, exactly 400 trainees passed through the College in its brief span of life (1926-1931). Five per cent of each year’s students were granted an extension of their studentship to enable them to proceed to Melbourne Teachers’ College, and to take the first year’s course for a University degree. With the advent of the economic depression of the ‘thirties, Ballarat Teachers' College closed its doors in December, 1931. Fourteen years were to pass before the College opened again on February 2nd, 1946. The college re-commenced at SS Dana Street, under the guidance of Mr W.F. Lord, M.C., M.M., B.A., Dip. Ed., (acting, later Principal 1946-1950) and a staff consisting of Miss E.B. Hughes, B.A., Dip. Ed., Mr C.B. Bryan, B.A., B. Com., Dip. Ed., Miss Monica H. Miller, L.Mus.A., and Miss G. Kentish, Dip. Phys. Ed. The opening ceremony was performed by the Minister of Education at that time, the Hon. F. Field, M.L.A., accompanied by the Hon. T.T. Hollway, M.L.A., and the then Director of Education, Mr J.A. Seitz. It was originally intended to cater for women students only but, at the last moment, men resident in Ballarat were also accepted. A co-educational college was thus set up instead, and it has continued as such. 1951 saw the introduction of the two-year course, successful students being presented with the Trained Primary Teacher’s Certificate at the final College Assembly each year. In December 1955, College held its first Graduation Ceremony, with its own Graduation Hymn, the words of which were written by Miss C.M. (Mavis) Canty of the staff. Lord remained as principal until 1951 when he transferred to establish a teachers' college at Toorak. Tom William Turner was Lord's successor. A highlight of his term was the construction of new college buildings at Gillies Street with the students commencing their lessons there in February 1958. Turner retired in 1970, having overseen a period of substantial growth in the institution. In that year alone more than one hundred and forty students completed their primary teaching qualification to meet a severe shortage of teachers. Doug Watson commenced as principal in 1971. In 1973 Ballarat Teachers' College became the State College of Victoria at Ballarat. Three years later Ballarat College of Advanced Education was formed and the teacher education students moved to the Mount Helen Campus. In 1990 Ballarat College of Advanced Education became Ballarat University College, an affiliated college with the University of Melbourne. The University of Ballarat was formed in January 1994.Light blue grosgrain sash, bound in yellow taffeta, sewn by machine. Two mitred seams, one at each shoulder, hand sewn and two seams machine stitched on straight part of sash. A BTC insignia is placed in the centre back. The insignia is stitched in yellow, royal blue and dark blue cotton. This sash is hand sewn at the end of one side length, in order to shorten it. Extra Muros (Beyond the Wall) on insignia BTC (Ballarat Teachers' college)education, teaching, assembly, btc, ballarat teachers college, university of ballarat, regalia, ceremony, graduation, stoll, balalrat teachers' college -
Flagstaff Hill Maritime Museum and Village
Equipment - Canvas Bag, mid-to-late 19th century
This drawstring canvas bag is amongst the Rocket Rescue equipment. It could have been used to carry equipment, clothing or provisions between the crew on the shore and the victims of a shipwreck or other rescue need. It could be worn on the shoulder or as a backpack or winched out to a vessel on the block and pulley system. The strong canvas could be weatherproof and waterproof to a large extent, provided the drawstring was pulled tight. Saving lives in Warrnambool – The coastline of South West Victoria is the site of over 600 shipwrecks and many lost lives; even in Warrnambool’s Lady Bay, there were around 16 known shipwrecks between 1850 and 1905, with eight lives lost. Victoria’s Government responded to the need for lifesaving equipment and, in 1858, the provision of rocket and mortar apparatus was approved for the lifeboat stations. In 1859 the first Government-built lifeboat arrived at Warrnambool Harbour and a shed was soon built for it on the Tramway Jetty, followed by a rocket house in 1864 to safely store the rocket rescue equipment. In 1878 the buildings were moved to the Breakwater (constructed from 1874-1890), and in 1910 the new Lifeboat Warrnambool arrived with its ‘self-righting’ design. For almost a hundred years the lifesaving and rescue crews, mostly local volunteers, trained regularly to rehearse and maintain their rescue skills. They were summoned when needed by alarms, gunshots, ringing bells and foghorns. In July 1873 a brass bell was erected at Flagstaff Hill specifically to call the rescue crew upon news of a shipwreck. Some crew members became local heroes but all served an important role. Rocket apparatus was used as recently as the 1950s. Rocket Rescue Method - The Government of Victoria adopted lifesaving methods based on Her Majesty’s Coast Guard in Great Britain. It authorised the first line-throwing rescue system in 1858. Captain Manby’s mortar powered a projectile connected to a rope, invented in 1808. The equipment was updated to John Dennett’s 8-foot shaft and rocket method that had a longer range of about 250 yards. From the 1860s the breeches buoy apparatus was in use. The apparatus was suspended on a hawser line and manually pulled to and from the distressed vessel carrying passengers and items. In the early 1870s Colonel Boxer’s rocket carried the light line, which was faked, or coiled, in a particular way between pegs in a faking box to prevent twists and tangles when fired. The angle of firing the rocket to the vessel in distress was measured by a quadrant-type instrument on the side of the rocket machine. Decades later, in about 1920, Schermuly invented the line-throwing pistol that used a small cartridge to fire the rocket. The British Board of Trade published instructions for both the beach rescue crew and ship’s crew. It involved setting up the rocket launcher on shore at a particular angle measured by the quadrant, inserting a rocket that had a lightweight line threaded through its shaft, and then firing it across the stranded vessel, the line issuing freely from the faking board. A tally board was then sent out to the ship with instructions in four languages. The ship’s crew would haul on the line to bring out the heavier, continuous whip line, then secure the attached whip block to the mast or other sturdy part of the ship. The rescue crew on shore then hauled out a stronger hawser line, which the ship’s crew fixed above the whip block. The hawser was then tightened using the block on the shore end of the whip. The breeches buoy and endless whip are then attached to the traveller block on the hawser, allowing the shore crew to haul the breeches buoy to and from the vessel, rescuing the stranded crew one at a time. Beach apparatus equipment - In the mid-1800s the equipment could include a line throwing set, coiled line in a wooden carrying case, rockets, cartridges, breeches buoy, hawser and traveller block, line-throwing pistol, beach cart, hand barrow, sand anchor, crotch pole, and tools such as spade, pick, mallet and hawser cutter. Around the 1860s Warrnambool had a Rocket House installed beside the Harbour. This canvas bag is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Canvas bag; thick beige canvas bag, cylindrical with a round base. The top has a thin rope in a drawstring closure. flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, lady bay, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, rocket crew, lifeboat men, beach rescue, line rescue, rescue equipment, volunteer lifesavers, volunteer crew, life saving rescue crew, lifesaving rescue crew, rocket apparatus, survival kit, rescue kit, canvas bag, storage bag, carry bag, equipment bag, drawerstring bag -
Federation University Historical Collection
Photograph - Photograph - Sepia, Ballarat School of Mines Cadets, 1916, c1916
Field Marshal Viscount Kitchener of Great Britain was invited by Prime Minister Deakin in 1909 to visit Australia and advise on the best way to provide Australia with a land defence. Kitchener’s report echoed the bill, introduced to Parliament in 1909 and supported by the Opposition Labor Party at its 1908 conference, to introduce compulsory military training in peace time (referred to as universal training). On 1 January 1911, the Commonwealth Defence Act 1911 (Cth) was passed as law and all males aged 12 to 26 were required to receive military training. Men were divided according to age, with junior cadets comprising boys 12-14 years of age, senior cadets comprising boys 14-18, and young men aged 18-26 assigned to the home militia defence. The support of schools was vital to the success of the scheme, since the system of cadet training began in the primary schools, with physical training prescribed by military authorities. Junior cadet training was entirely in the hands of school teachers, who had first been trained by military officers. This early training was less military in nature than focused on physical drill and sport. It also acted to inculcate boys with the notions of loyalty to country and empire. At this age, uniforms were not worn, although there were schools with pre-existing uniformed cadet units, who continued to do so. Senior Cadets were organised by Training Areas, administered by Area Officers. If a school had at least 60 senior cadets, they could form their own units. Unlike their junior counterparts, Senior Cadets were issued uniforms, a rifle, and learned the foundations necessary for service in any arm of the defence forces. Boys and men could be exempted from compulsory training if they lived more than five miles from the nearest training site, or were passed medically unfit. Those who failed to register for training were punished with fines or jail sentences, and the severity of this punishment generated some of the strongest opposition to the scheme. While institutions such as the political parties and most churches generally supported universal training, some in the broader labour movement were less enthusiastic, as evidenced in the Daily Herald newspaper’s editorials and letters. Universal military training persisted after the conclusion of World War 1, with the Junior Cadet scheme the first to go, in 1922. Senior cadets and service with the militia was suspended in November 1929. (http://guides.slsa.sa.gov.au/content.php?pid=575383&sid=4788359, accessed 29/10/2015) According to Neil Leckie, Manager of the Ballarat Ranger Military Museum: * Originally 12 – 14 year olds went to Junior Cadets attached to their school. * From age 14 – 17 they were Senior Cadets attached to the local militia unit. * After 1 July of the year a Cadet turned 18, the Cadet left the Senior Cadets and became a member of the Citizen Military Force. * In October 1918 the AIF, Militia and Cadets were renamed to give some connection to the AIF battalion raised in the area. Ballarat saw: 8th Australian Infantry Regiment comprising: * 8th Battalion AIF renamed 1st Battalion 8th Australian Infantry Regiment * 70th Infantry Militia renamed 2nd Battalion 8th Australian Infantry Regiment * 70th Infantry Cadets renamed 3rd B, 8th Australian Infantry. 39th Australian Infantry Regiment comprising: * 39th Battalion AIF renamed 1st Battalion 39th Australian Regiment * 71st Infantry Militia renamed 2nd Bn, 39th Australian Infantry Regiment * 71st Infantry Cadets renamed 3rd Bn, 39th Australian Infantry Regiment Prior to the reorganisation in 1918 the 18th Brigade was the 70th, 71st and 73rd Infantry. It is thought that the 18th Brigade Cadet units in 1920 were those that came from the old: * 69th Infantry (Geelong/Queenscliff) * 70th Infantry (Ballarat/Colac) * 71st Infantry (Ballarat West) * 72nd Infantry Warrnambool) * 73rd Infantry (NW Vic) The next name change came in 1921!Mounted sepia photograph of 21 young males. They are the Ballarat School of Mines Cadets on a training camp at Lake Learmonth. Back row left to right: Harold Wakeling; ? ; T. Wasley; H. Witter; H.V. Maddison (staff); Lieutenant S.J. Proctor, Joe ? ; ? ; B.C. Burrows. Centre left to right: Howard Beanland; ? ; F.N. Gibbs; H. Siemering; P. Riley; ? : E. Adamthwaite. Front row left to right: Albert E. Williams; Francis Davis (RAAF Dec.); A. Miller; W. Shattock; T. Rees From the Ballarat School of Mines Magazine, 1916 "Our Competition Team, 1916 At a parade, held on the 25th August competition teams were called from from the three colleges - Ballarat College, St Patrick's College, and the School of Mines. In each case, a large muster was obtained, twenty-nine volunteering fro the School of Mines. On account of the number in a team being limited to 21, some had to be weeded out. The team decided to have a camp at Learmonth in the vacation for the benefit of training for the coming competitions. The tents, within our baggage, were brought to the Junior Technical School at 10 a.m. on Monday, 11 September. Everything was carted to the station on a lorry, which was very kindly lent by Mr C. Burrow. ... Arriving at our camp, which was in the Park, we first raised the tents. This was done in record time. Three large tents, A.B.C., were pitched one behind the other. We also pitched a smaller one to act as a provisions tent. The provisions supplied by each cadet were placed in this tent. Dinner was ready by 3.30, and was prepared by the three senior non-coms., who also acted as orderlies. Things went alright Monday night, the two senior non-coms. acting as sentries for the first two hours. On Tuesday morning Reville sounded at 7. There was no need for it, however, as nearly all the cadets were up before daylight, owing to their beds being too hard. After physical exercises were gone through we had breakfast. We then had rifle exercises until Messrs A.W. Steane and F.N. King arrived. The former put the team through the table of physical exercises set down for competition work, many valuable points being obtained. The visitors remained for dinner, afterwards returning to Ballarat. Wednesday was uneventful, until the soldiers arrived at about 11 a.m., stopping at the park for lunch. As we handed over the coppers, etc., to them, our lunch was delayed. Two more visitors arrived after lunch, and after taking a few photos returned home. That night we had a "Sing-a-long" in C Tent until "Lights out" sounded at 9.30. After physical exercises ad breakfast on Thursday, we went for a six mile route march round the lake, doing skirmishing on the way. In the afternoon we practised rifle exercises and the march past. A concert was arranged for that night, the chief singers being cadets H. Siemering and W. Shattock. Supper was served at the end of the entertainment. On Friday, Reveille sounded at 6.30 instead of 7, and, as usual, we had physical exercises before breakfast, after which the team went through skirmishing at the reserve. In the afternoon, section drill and the march past were practised. Friday night, being our last night in camp, leave was granted until 10 p.m., "lights out" sounding at 11. Reveille sounded on Saturday at 4.30, the reason being that all kits, tents, etc., had to be packed away ready to catch the 8.15 train to Balalrat. At 7.30 we were all ready to leave for the station. We had a very enjoyable time in the train, each cadet having a chip in at the patriotic songs. On arriving at Ballarat, we found the lorry awaiting us. The luggage was carted to the Junior Technical School, the team following. The team were here dismissed, everyone feeling that he had had a very good time. F.G. Davis"Written in ink on front 'cadet camp at Lake Learmonth about 1916. Training for South Street Competitions. ballarat school of mines, cadets, ballarat school of mines cadets, lake learmonth, world war one, boomerang, camp, cadet camp, h.g. wakeling, harold wakeling, f.g. davis, albert w. steane, f.n. king, h. siermering, w. shattock, francis davis, harold wakeling, t. wasley, h. witter, h.v. maddison, s.j. proctor, b.c. burrows, howard beanland, f.n. gibbs, h. siemering, p. riley, e. adamthwaite, albert e. williams; francis davis, a. miller, w. shattock, t. rees, photography, foto, boxing gloves -
Bendigo Historical Society Inc.
Document - A SOUVENIR OF 'THE GLAMOUR GIRLS' REVUE 'THEN AND NOW' 1944, 1944
A Souvenir of 'The Glamour Girls' Revue 'Then and Now' 1944. From Mr & Mrs C Clark. Page 1, Bendigo presents 'The Glamour Girls' in Their Hit Revue 'Then & Now' a Pot Pourri of Dances and Fun, Produced and created by the Team Spirit of Peggy Hinsley, Elaine O'Shea, Joan Albert, Gladys Jordon, Amba Harrington, Moira Knowles. Doris Clow, Betty Angel, Cath Mc Queenie, Thelma Cochrane, Mona Roberts. Under Direction of C Clark. Musical Direction, Edward Thomas. Accompaniste, Leila Camp, Vida Roberts. Violinists, Honor Allfrey, Edgar Jarrett. Drums, Frank Kennedy, Andy Beattie. Costumes, Tivoli Theatres. Page 3/ In lending your personality, your charm and your talent to help raise Funds for the Returned Soldiers' Relief Appeal, you have given not only to the soldiers, but to the Nation a great service. As the producer and originator of the 'Glamour Girl Revue' I wish to place on record my personal thanks to the noble part you have played in making this show the financial success it has proved to be. You will appreciate that no remuneration has given by the Committee for your services, with this decision I am sure you fully concur. I would however, like you to accept this souvenir as a small token of gratitude for the great pleasure it has given my wife and I to have been associated with each and everyone of you as a team. May we have future successes in our services to those in need. Yours truly, (signed) C Clark. Page 5/ Photograph of Mr and Mrs C Clark signed; Sincerely M & C Clark. Extra page has been added here and a black and white photograph of the cast on stage attached using photograph corners. Page 5/ Photo of Peggy. Page 7. Page 9 photo of Elaine. Page 11 photo Joan. Page 13 Gladys. Page 15 Amba. Page 17 Moira. Page 19 Doris. Page 21 Betty. Page 23 Cath. Page 25 Thelma. Page 27 Mona. Page 29 Autographs: Betty Angell, Thelma Crochrane, S M Grossmann, Vida Roberts, Mona Roberts, G E Thomas, J Albert, H M Allfrey, J J Monte, Elaine O'Shea, Andrew Beattie, Moira Knowle, Teen Armstrong, C M McQueenie, Peg Hainsly, Doris Blow, Amba Harrington, J N Armstrong, M Clark, C Clark (autographs in copy A only.) Page 31. ''1940 - Never have so many owed so much to so few.'' - Winston Churchill. A Friend Who Understands. You've shared the joys and troubles The Laughter and the tears, And you've given loyal friendship Through the Changing Varied years, Your voice has been beside me Whispering courage for the day, And you've helped and blessed and cheered me Making glad the uphill way, And of all the many blessings That have reached me from God's hands, There's no gift more sweet and precious Than the Friend - who understands. 1944 ''Never have so few needed so much from so many'' - Returned Soldiers' Relief Appeal. Copy A/ Inscription on front cover To 'YACK'. Signed on page 3, C Clark. Signed on page 5 Sincerely M & C Clark. Page 29 Autographs: Betty Angell, Thelma Crochrane, S M Grossmann, Vida Roberts, Mona Roberts, G E Thomas, J Albert, H M Allfrey, J J Monte, Elaine O'Shea, Andrew Beattie, Moira Knowle, Teen Armstrong, C M McQueenie, Peg Hainsly, Doris Blow, Amba Harrington, J N Armstrong, M Clark, C Clark. Orange ribbon is faded. Copy B/ markings: front cover - Royal Historical Society of Victoria Bendigo Branch stamp, sticker - D1729. Cover and white sticker with D1729 on top right corner. First 2 sheets are torn at top hole punch. Orange ribbon is worn at the back.program, theatre, the glamour girls, a souvenir of 'the glamour girls' revue 'then and now' 1944. from mr & mrs c clark. their hit revue 'then & now' a pot pourri of dances and fun, produced and created peggy hinsley, elaine o'shea, joan albert, gladys jordon, amba harrington, moira knowles. doris clow, betty angel, cath mc queenie, thelma cochrane, mona roberts. under direction of c clark. musical direction, edward thomas. accompaniste, leila camp, vida roberts. violinists, honor allfrey, edgar jarrett. drums, frank kennedy, andy beattie. costumes, tivoli theatres. raise funds for the returned soldiers' relief appeal. as the producer and originator my personal thanks to the part you have this show a success. no remuneration has given by for your services. accept this souvenir as a token of. c clark. photograph of mr and mrs c clark signed; sincerely m & c clark. black and white photograph of the cast, peggy, elaine, joan, gladys, amba, moira, doris, betty, cath, thelma, mona, autographs: betty angell, thelma crochrane, s m grossmann, vida roberts, mona roberts, g e thomas, j albert, h m allfrey, j j monte, elaine o'shea, andrew beattie, moira knowle, teen armstrong, c m mcqueenie, peg hainsly, doris blow, amba harrington, j n armstrong, m clark, c clark. 'yack'. -
Eltham District Historical Society Inc
Negative - Photograph, Mary Jane Smart (nee Bailey) ouside the Smart family home in Bridge Street, Eltham, c.1915
Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.Roll of 35mm colour negative film, 3 strips Associated print from negative (Copy of original print)Fuji 100bridge street, cottage, smart home, houses, mary jane smart (nee bailey), smart family home, alexander wilson smart, bigamy, bush cottage, early settlers, eltham, jane bailey (nee matthews), murder, ruby jane bertha smart -
Eltham District Historical Society Inc
Negative - Photograph, Smart family home in Bridge Street, Eltham, c.1903
Believed to be Mrs Jane Bailey (nee Matthews) (d. 1904) and her grand-daughter Ruby Jane Bertha Smart (1890-1903) in front of the Smart family cottage in Bridge Street, Eltham, c.1903 Located on the north side of Bridge Street at the intersection with Bolton Street, facing Bolton Street (now part of present day Brisbane Street and occupied by the Kitchen Design Centre). Ruby Jane Bertha Smart born abt 1890 died in 1903 in Eltham. Her brother Alfred Francis Smart was born abt 1887 and died 1966 in Mont Albert, Vic. (Accessed via Ancestry.com) Show's an original early settler's cottage in Bridge Street. The cottage was built by Mrs Mary Jane Smart's parents, Edwin Bailey and Jane (nee Matthews). Mary Jane Smart was born in the cottage. She married an Englishman, Alexander Wilson Smart who disappeared to Western Australia in the early 1900s in search of gold. He ultimately married again in W.A., committing bigamy and then committed murder and was hung in 1911. This photo was taken c.1903 not long before both Mrs Bailey and her grand daughter both passed away. Jane Bailey died 2 Dec. 1904 and Mary Jane Smart and Ruby Jane Bertha Smart died July 1903 are all buried in Eltham Cemetery. SMART'S HOME AT ELTHAM. HIS WIFE AND SONS. In a little bush cottage surrounded by tall gum trees, through which appear glimpses of a willow fringed creek, of road ways hedged by masses of snowy flowering hawthorn, of growing crops and vividly green grazing paddocks, lives Mrs. Smart, the lawful wife of the man who is now in the hands of the police of Western Australia on suspicion of having committed a dreadful crime. Here, about half a mile out of the picturesque village of Eltham, she was born, and has lived her whole life — about 50 years. Smart himself lived here till the time when many years ago, the "lure of gold" got into his blood and he cleared out to Western Australia, to follow the digging rushes, gradually becom ing more and more estranged, till at length all communication ceased and be became lost to his wife and children. "I did not want him to go away," said Mrs. Smart, "because I had heard of so many men who had forgotten their homes in the excite ment of gold seeking, and of many others who died unknown and uncared for. But he would go, and when I saw his mind was set on it I placed no obstacles in his way. My parents built and lived in this cottage, where I was born, and they died in it. When I grew up I met my husband, a young Englishman, and married him. His name is Alexander, not Alfred, and his age is 52. We were very happy here, and although we were not well off we were comfortable, for he was a steady, sober, industrious man and had constant employment. He was just a manual worker, but could turn his hand to anything. We had five children, but one died. Four sons grew up in this little cottage. Thus three generations lived in it, somewhat unusual in an Australian bush home, I think. My eldest son is married and has a family; one is in Western Australia— not with his father— another is away working for him self, and one (indicating a young man by her side) has always stuck to his mother. He is my sole support, and he is as good to me now as his father once was. Yes, his father was a good, home-loving man in our younger days. He was fond of his children and was highly respected in these parts.' "It is fifteen years since my husband went away first. He had then been work ing for the Metropolitan Board of Works, and was engaged in the tunnel under the Yarra near Queen's-bridge when it col-lapsed. After he went to the West he sent me money regularly and wrote constantly. He came home three times — twice for a week or two at a time, the third time, eight years ago, when the Eitham railway was nearing completion. I induced him to stay till the railway opened, and he re-mained with me several months. I tried to get him to leave the West and settle down in his home, but he would not; he seemed restless and anxious to be off. One day when we were in Collingwood together he left me, saying he wanted to see what boats were going West. I implored him not to go away, and he said he would see. However, he returned to me soon after wards and said he had taken his ticket and would go by the next boat, and he went. For a year he wrote at irregular intervals, and then his letters ceased and I heard no more of him. For seven years I have not known whether he was alive or dead. Before that time my two sons in Western Australian used to see him some times, though they did not live with him; they used to tell me in their letters that he was well. It was a hard blow to be forgotten by him, but as my sons grew up I became more reconciled, and now I seem to look back at my life with him as some thing that happened a long time ago and is only a memory. Of his life and doings in Western Australia I know nothing. The last time I heard of him he was working in a foundry at Midland Junction. He was at Cue working on the railway when it opened there, and he caught the fever, but all that time he sent me money. When he returned the first time he took our eldest son with him, and the other boy followed later. They did not stay with him, how ever, and as far as I know they did not know how he lived." 'Mrs. Smart is a quiet, toil worn woman who has the respect of everyone who knows her.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Neg Original print 10.5 x 16.5 cmFor postcard print: Inscribed on envelope: "Return to Mrs H. Butherway, 22 Bridge St, Eltham." Also "Photo Mrs Clark Hampton (nee Smart), original Smart's house - Bridge Street, 95 years ago." Also "Right - Mrs Clark's grandmother Mrs J Smart Left - Her daughter Ruby dies soon after photo taken. Brother Alf Smart died about 6 years ago." Inscribed on back of photo "247 Vincent St, Leederville" It is believed that this inscription may be somewhat mixed up.sepp, shire of eltham pioneers photograph collection, eltham, bridge street, alexander wilson smart, bigamy, bush cottage, early settlers, houses, jane bailey (nee matthews), mary jane smart (nee bailey), murder, ruby jane bertha smart, smart family home, smart home -
National Wool Museum
Textile - Skirt, Tina Knitwear, 1980-2000
Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. This garment was owned and worn frequently by Assunta herself, as part of an ensemble. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Forrest green skirt shaped with darts and has an elastic waistband. Has a brown silky lining. knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
National Wool Museum
Textile - Jumper, Tina Knitwear, 1980-2000
Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. This garment was owned and worn frequently by Assunta herself, as part of an ensemble. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Forrest green long sleeved crew neck jumper with black horizontal stripes on lower half. Button at the back of neck. knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
National Wool Museum
Textile - Cardigan, Tina Knitwear, 1980-2000
Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. This garment was owned and worn frequently by Assunta herself, as part of an ensemble. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Forrest green cardigan with black edged scallop detailing on collar, button band and faux pockets.knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community -
National Wool Museum
Clothing - 1984 Los Angeles Olympics Men's Opening Ceremony Shirt, c. 1984
On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes -
Bendigo Historical Society Inc.
Document - TOWN HALL, THE BENDIGO CHORAL SOCIETY, 14 June, 1922
Town Hall, The Bendigo Choral Society. Souvenir program 3d. With and oval picture of Mr. W C Frazier A.R.C.O.-Conductor on front cover. Gounod's 'Faust'. For Bendigo Benevolent Asylum, 5000 pounds. Town Hall, Bendigo, Wednesday, June 14th, 1992, at 8pm. Principals: Miss Phyllis Hannaford (Mrs J R Clark); Miss Essa McSwiney, L.A.B. Mr E H Collett, Mr E A Miller, Mr Gerson Krost, Conductor: Mr W C Frazier, A.R.C.O. Pianiste: Miss Eileen Hains, A.T.C.L. Picture of Benevolent Asylum on front cover. J G Austen, Secretary Appeal Fund. J Hudspeth & Z S Martin Secretaries Choral Society. Concert to commence at 8pm. Artists; Mr Gerson Krost, Miss Essa McSwiney, Mr E A Miller, Miss Phyllis Hannaford. Cast; Mrs J R Clark, Miss Essa McSwiney, Mr E H Collett, Mr E A Miller. Choruses, etc. by Choral Society. In the Homeland Mr Frazier found it the increasing practice to take the great opera masterpieces and give them on the concert platform in more of less liberal excerpts. With characteristic generosity. He purchased the copies and presented them to the Choral Society. Bendigo has thus an opportunity to hear the latest idea. We are sure the musical public will appreciate this, though of course. . . . . It is interesting to note that when this great work was first performed in Paris, on March 19th, 1859, it was somewhat coldly received, to the composer's great grief, as he, with the instinct of genius, . . . . The Compact: Introduction: Faust, aged and worn, weary with long pondering over learned treatises, in a pessimistic mood wonders whether the work is worth while. Memories of an early love stir strangely in his being, and he, in his doubting mood, questions all things, In despair he would welcome death, and finding no answer from the heavens, he appeals to the powers of ill. To his great surprise, he is at once answered by Mephistopheles and a colloquy then ensues in which the Evil One promises him Gold? Glory? A Kingdom? No! No! It mist be 'Youth!' That can be done also. Faust is dubious, but on Mephistopheles bringing a vision of beauteous Margarita at is dubious, but on Mephistopheles be 'Youth!' That can be done also. Faust is dubious, but on Mephistopheles bringing a vision of beauteous Margarita at her wheel he agrees, and signs the compact. 'Up Here I am at thy command, Down There thou servest me!' At The Fair: Mephistopheles then asks Faust to the Fair where they mix with the revelry of the students, soldiers and merry maidens. He gets a glimpse of Margarita. The Evil One is again busy putting Suspicious and quarrelsome thoughts into good comrades minds. . . . The Wooing: Poor Siebel, the ardent, faithful lover of Margarita, finds himself somewhat overshadowed by the young and handsome Faust. Mephistopheles in a mocking mood tells him that every flower that he plucks will perish in his hands. He finds this prediction verified when he plucks the flowers for his lady love, but when in faith he scouts the Evil One, he conquers, and the spell is broken. Faust, filled with an ardent and pure passion, approaches the dwelling of Margarita, with an offering of priceless jewels, provided by the . . . . . The Return Of Valentine: Valentine, the soldier brother of Margarita, leaves for the wars, giving the care of his sister to her faithful lover, Siebel. On his return, covered with glory, and ardent to meet his people again, he hears the story of the flouting of Margarita by Faust. In this part the soldiers are welcomed home by their comrades in the male part of the song 'Fold the flag my brothers,' followed by the celebrated chorus (usually known as the 'Soldier's Chorus' Glory and love to the men of old.' It has been set, in this edition, for full choir. Mephistopheles, the evil genius, in a spirit of raillery, and exultant that his plans are working to . . . . The Price: Faust, repentant, desires to do justice to Margarita and again be her lover. Margarita is almost demented at the loss of her brother. Mephistopheles not to be cheated, thwarts the good impulse of Faust and demands his price. He also endeavors to make Margarita despair, but owing to the simple faith of the . . . . The End. A Question You give you name, your time, your pelf To ease your woe: But what do you give of your own self To pay the debt you owe? You open a Home for helpless ones, And you shut them in with care; Of what think you is their share? You talk and you write; you organise; All this, we know, is true; But how do you spread the spark divine, The deep-down soul of you? -A Simkins. Benevolent Asylum Appeal. The Committee of Management directing the works of the Asylum desire to bring before an always generous public the claims of the Instruction for financial support. The Appeal for 5000 pounds has been launched in the full belief that the case is a good one, and in the confident hope that it will be successful. The work carried on by the Asylum covers a big field, extending as it does from Swan Hill in the north and Melbourne in the south. Inmates from all parts of the State are given a comfortable home, and properly cared for in the eventide of their lives. There are at present in the Asylum 164 old men and women. In addition to this work the Committee thoroughly investigate and dispense relief in food to from 150 to 200 adults and from 300 to 400 children each week, and also issues a large number of blankets, boots and clothing garments to necessitious applicants. The recipients of this relief are principally widow and their little ones, and the wives and children who are dependents of miners suffering from the dread Miners' Complaint. The Committee in orgainising this branch of its charity work, has, to a great extent, prevented a large amount of waste, through overlapping and duplication of effort. It now appeals to the public for the above amount in order that be may still be able to continue charity work among the poor and necessitous of Bendigo and District. 'Organized Charity is Love with Judgment.'Cambridge Press Printprogram, theatre, town hall, town hall, the bendigo choral society. souvenir program 3d. with and oval picture of mr. w c frazier a.r.c.o.-conductor on front cover. gounod's 'faust'. for bendigo benevolent asylum, 5000 pounds. town hall, bendigo, wednesday, june 14th, 1992, at 8pm. principals: miss phyllis hannaford (mrs j r clark); miss essa mcswiney, l.a.b. mr e h collett, mr e a miller, mr gerson krost, conductor: mr w c frazier, a.r.c.o. pianiste: miss eileen hains, a.t.c.l. picture of benevolent asylum on front cover. j g austen, secretary appeal fund. j hudspeth & z s martin secretaries choral society. concert to commence at 8pm. artists; mr gerson krost, miss essa mcswiney, mr e a miller, miss phyllis hannaford. cast; mrs j r clark, miss essa mcswiney, mr e h collett, mr e a miller. choruses, etc. by choral society. in the homeland mr frazier found it the increasing practice to take the great opera masterpieces and give them on the concert platform in more of less liberal excerpts. with characteristic generosity. he purchased the copies and presented them to the choral society. bendigo has thus an opportunity to hear the latest idea. we are sure the musical public will appreciate this, though of course. it is interesting to note that when this great work was first performed in paris, on march 19th, 1922. the compact. at the fair. the wooing. the return of valentine. the price. benevolent asylum appeal. the committee of management directing the works of the asylum desire to bring before an always generous public the claims of the instruction for financial support. the appeal for 5000 pounds has been launched in the full belief that the case is a good one, and in the confident hope that it will be successful. the work carried on by the asylum covers a big field, extending as it does from swan hill in the north and melbourne in the south. inmates from all parts of the state are given a comfortable home, and properly cared for in the eventide of their lives. there are at present in the asylum 164 old men and women. in addition to this work the committee thoroughly investigate and dispense relief in food to from 150 to 200 adults and from 300 to 400 children each week, and also issues a large number of blankets, boots and clothing garments to necessitious applicants. the recipients of this relief are principally widow and their little ones, and the wives and children who are dependents of miners suffering from the dread miners' complaint. the committee in orgainising this branch of its charity work, has, to a great extent, prevented a large amount of waste, through overlapping and duplication of effort. it now appeals to the public for the above amount in order that be may still be able to continue charity work among the poor and necessitous of bendigo and district. 'organized charity is love with judgment.' -
Flagstaff Hill Maritime Museum and Village
Functional object - Spectacles and case, c. 1969
The history of spectacles The earliest form of spectacles are generally agreed to have been invented in Northern Italy in the thirteenth century. Over hundreds of years of innovation and refinement, they have been perfected into the stylish and functional designs you see today worn by millions of people to correct their eyesight. Here's a look at the key moments that defined the history of spectacles. Thirteenth century - Rivet spectacles The earliest form of spectacles was simply two mounted lenses riveted together at the handle ends. They had no sides and were secured to the face by clamping the nose between the rims, some of which had notches which may have been intended to improve the grip. Even then the wearer could only keep them in place by remaining relatively still and would normally support them with the hand. These spectacles contained convex lenses for the correction of presbyopic long-sightedness and were generally suited only to those few who lived beyond their forties and had the ability to read. Sixteenth century - Nose spectacles Nose spectacles were in more common use by the early sixteenth century. These often had a bow-shaped continuous bridge, almost of a modern appearance, that was sometimes flexible depending upon the material, for example leather or whalebone. The bridge was as much an area to be gripped as to rest on the nose. Spectacles were still usually held in place with the hand whilst being used temporarily for a brief period of reading or close inspection. By now the lenses could be used to correct both long and short sight. The general design changed little through the seventeenth century, though certain refinements increased the flexibility and comfort for some wearers. In some localised areas, notably in Spain, people experimented with ear loops made of string. This allowed them to walk around with their spectacles on. Eighteenth century - Temple glasses Only in the eighteenth century did the first modern eyewear, or ‘glasses’ as we would understand them, start to appear. The lenses might be glass, rock crystal or any other transparent mineral substance and were prone to smashing if the spectacles fell off, so there was an impetus to develop frames that could be worn continuously and would stay in place. London optician Edward Scarlett is credited with developing the modern style of spectacles which were kept in place with arms, known as ‘temples’. These were made of iron or steel and gripped the side of the head but did not yet hook over the ears because often the ears were concealed beneath a powdered wig, such as was fashionable at the time. As temples developed they were made with wide ring ends through which the wearer could pass a ribbon, thus tying the spectacles securely to the head. As spectacles were no longer primarily for use in sedentary activities, people began to be noticed out and about in their spectacles and might come to be identified as a ‘spectacle wearer’. By the end of the eighteenth century, people who needed correction for both distance and near could choose bifocals. Nineteenth century - Pince-nez Pince-nez were a nineteenth century innovation that literally translates as ‘pinching the nose’. They had a spring clip to retain the item in place under its own tension. Sometimes this clip was too tight and the wearer struggled to breathe. If it was too loose the pince-nez could fall off so, for safety and security, they were often connected to the wearer's clothing by a cord or a chain to avoid them being dropped or lost. Pince-nez were sometimes chosen by people who felt that large spectacles were too prominent and drew attention to a physical defect. They were also suitable for mounting lenses that could correct astigmatism. Twentieth century spectacles Spectacle wearing continued to become more widespread, key developments being the supply of spectacles to troops in the First World War, cheaper spectacles being subsidised through insurance schemes arranged by friendly societies, and the beginning of the National Health Service in 1948, when free spectacles were made available to all who might benefit from them. This normalised spectacle wearing and led to a significant increase in the scale of production. Entirely separate categories of women’s spectacles and sports eyewear both emerged in the 1930s. The latter half of the twentieth century saw spectacles become more fashionable and stylish as frames with different shapes, materials, and colours became available. Plastics frames, in particular, allowed a greater choice of colours and textured finishes. Plastic lenses were more durable and could be made lighter and thinner than glass, spurring a renewed interest in rimless designs. Designer eyewear bearing popular high-street brand names encouraged patients to regard spectacles as a desirable commodity, even as a fashion accessory, not just a disability aid. https://www.college-optometrists.org/the-british-optical-association-museum/the-history-of-spectacles These spectacles and case were used by Dr. Angus in his surgery in Warrnambool to test patients' eye sight. They were donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII 1941-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Spectacles and case, from the W.R. Angus Collection and used by Dr. Angus for testing the sight of his patients. Black rimmed spectacles in tan, open ended pouch. Inscription is stamped into frame and printed in gold lettering on the case. c. 1969 Inscriptions read on spectacles;“52 (square) 18” and “RODENSTOCK > ELBA < 130“ and printed in gold lettering on the pouch “DOBBIE BROS. / OPTOMETRISTS & OPTICIANS / 173 EXHIBITION ST. MELBOURNE”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, surgical instrument, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, medical treatment, spectacles and case, optical testing, optometrist examination, dobbie bros melbourne -
Flagstaff Hill Maritime Museum and Village
Functional object - Spectacles and Case, 1930s - 1960s
The history of spectacles The earliest form of spectacles are generally agreed to have been invented in Northern Italy in the thirteenth century. Over hundreds of years of innovation and refinement, they have been perfected into the stylish and functional designs you see today worn by millions of people to correct their eyesight. Here's a look at the key moments that defined the history of spectacles. Thirteenth century - Rivet spectacles The earliest form of spectacles was simply two mounted lenses riveted together at the handle ends. They had no sides and were secured to the face by clamping the nose between the rims, some of which had notches which may have been intended to improve the grip. Even then the wearer could only keep them in place by remaining relatively still and would normally support them with the hand. These spectacles contained convex lenses for the correction of presbyopic long-sightedness and were generally suited only to those few who lived beyond their forties and had the ability to read. Sixteenth century - Nose spectacles Nose spectacles were in more common use by the early sixteenth century. These often had a bow-shaped continuous bridge, almost of a modern appearance, that was sometimes flexible depending upon the material, for example leather or whalebone. The bridge was as much an area to be gripped as to rest on the nose. Spectacles were still usually held in place with the hand whilst being used temporarily for a brief period of reading or close inspection. By now the lenses could be used to correct both long and short sight. The general design changed little through the seventeenth century, though certain refinements increased the flexibility and comfort for some wearers. In some localised areas, notably in Spain, people experimented with ear loops made of string. This allowed them to walk around with their spectacles on. Eighteenth century - Temple glasses Only in the eighteenth century did the first modern eyewear, or ‘glasses’ as we would understand them, start to appear. The lenses might be glass, rock crystal or any other transparent mineral substance and were prone to smashing if the spectacles fell off, so there was an impetus to develop frames that could be worn continuously and would stay in place. London optician Edward Scarlett is credited with developing the modern style of spectacles which were kept in place with arms, known as ‘temples’. These were made of iron or steel and gripped the side of the head but did not yet hook over the ears because often the ears were concealed beneath a powdered wig, such as was fashionable at the time. As temples developed they were made with wide ring ends through which the wearer could pass a ribbon, thus tying the spectacles securely to the head. As spectacles were no longer primarily for use in sedentary activities, people began to be noticed out and about in their spectacles and might come to be identified as a ‘spectacle wearer’. By the end of the eighteenth century, people who needed correction for both distance and near could choose bifocals. Nineteenth century - Pince-nez Pince-nez were a nineteenth century innovation that literally translates as ‘pinching the nose’. They had a spring clip to retain the item in place under its own tension. Sometimes this clip was too tight and the wearer struggled to breathe. If it was too loose the pince-nez could fall off so, for safety and security, they were often connected to the wearer's clothing by a cord or a chain to avoid them being dropped or lost. Pince-nez were sometimes chosen by people who felt that large spectacles were too prominent and drew attention to a physical defect. They were also suitable for mounting lenses that could correct astigmatism. Twentieth century spectacles Spectacle wearing continued to become more widespread, key developments being the supply of spectacles to troops in the First World War, cheaper spectacles being subsidised through insurance schemes arranged by friendly societies, and the beginning of the National Health Service in 1948, when free spectacles were made available to all who might benefit from them. This normalised spectacle wearing and led to a significant increase in the scale of production. Entirely separate categories of women’s spectacles and sports eyewear both emerged in the 1930s. The latter half of the twentieth century saw spectacles become more fashionable and stylish as frames with different shapes, materials, and colours became available. Plastics frames, in particular, allowed a greater choice of colours and textured finishes. Plastic lenses were more durable and could be made lighter and thinner than glass, spurring a renewed interest in rimless designs. Designer eyewear bearing popular high-street brand names encouraged patients to regard spectacles as a desirable commodity, even as a fashion accessory, not just a disability aid. https://www.college-optometrists.org/the-british-optical-association-museum/the-history-of-spectacles The company Optical Prescription Spectacle Makers (OPSM ) was formed in Sydney in 1932 and publically listed in 1953. These spectacles and case were used by Dr. Angus when testing patients' eyes. The spectacles and case were donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII 1941-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Spectacles and case, from the W.R. Angus Collection and used by Dr. Angus testing the sight of his patients. Metal case covered in red leather, black velvet lining. Tan rimmed spectacles. Maker is OPSM. Inscriptions on case, inside case and on spectacle rim.Inscribed on spectacle arms “CONTORA”. Inscription on case in gold print “OPSM Optical Prescription Spectacle Makers Pty Ltd”. Inscription on white oval label inside case is illegible. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, spectacles and case, optical testing, optometrist examination, opsm optical prescription spectacle makers -
Flagstaff Hill Maritime Museum and Village
Functional object - Spectacles and Case, Mid 20th Century
The history of spectacles The earliest form of spectacles are generally agreed to have been invented in Northern Italy in the thirteenth century. Over hundreds of years of innovation and refinement, they have been perfected into the stylish and functional designs you see today worn by millions of people to correct their eyesight. Here's a look at the key moments that defined the history of spectacles. Thirteenth century - Rivet spectacles The earliest form of spectacles was simply two mounted lenses riveted together at the handle ends. They had no sides and were secured to the face by clamping the nose between the rims, some of which had notches which may have been intended to improve the grip. Even then the wearer could only keep them in place by remaining relatively still and would normally support them with the hand. These spectacles contained convex lenses for the correction of presbyopic long-sightedness and were generally suited only to those few who lived beyond their forties and had the ability to read. Sixteenth century - Nose spectacles Nose spectacles were in more common use by the early sixteenth century. These often had a bow-shaped continuous bridge, almost of a modern appearance, that was sometimes flexible depending upon the material, for example leather or whalebone. The bridge was as much an area to be gripped as to rest on the nose. Spectacles were still usually held in place with the hand whilst being used temporarily for a brief period of reading or close inspection. By now the lenses could be used to correct both long and short sight. The general design changed little through the seventeenth century, though certain refinements increased the flexibility and comfort for some wearers. In some localised areas, notably in Spain, people experimented with ear loops made of string. This allowed them to walk around with their spectacles on. Eighteenth century - Temple glasses Only in the eighteenth century did the first modern eyewear, or ‘glasses’ as we would understand them, start to appear. The lenses might be glass, rock crystal or any other transparent mineral substance and were prone to smashing if the spectacles fell off, so there was an impetus to develop frames that could be worn continuously and would stay in place. London optician Edward Scarlett is credited with developing the modern style of spectacles which were kept in place with arms, known as ‘temples’. These were made of iron or steel and gripped the side of the head but did not yet hook over the ears because often the ears were concealed beneath a powdered wig, such as was fashionable at the time. As temples developed they were made with wide ring ends through which the wearer could pass a ribbon, thus tying the spectacles securely to the head. As spectacles were no longer primarily for use in sedentary activities, people began to be noticed out and about in their spectacles and might come to be identified as a ‘spectacle wearer’. By the end of the eighteenth century, people who needed correction for both distance and near could choose bifocals. Nineteenth century - Pince-nez Pince-nez were a nineteenth century innovation that literally translates as ‘pinching the nose’. They had a spring clip to retain the item in place under its own tension. Sometimes this clip was too tight and the wearer struggled to breathe. If it was too loose the pince-nez could fall off so, for safety and security, they were often connected to the wearer's clothing by a cord or a chain to avoid them being dropped or lost. Pince-nez were sometimes chosen by people who felt that large spectacles were too prominent and drew attention to a physical defect. They were also suitable for mounting lenses that could correct astigmatism. Twentieth century spectacles Spectacle wearing continued to become more widespread, key developments being the supply of spectacles to troops in the First World War, cheaper spectacles being subsidised through insurance schemes arranged by friendly societies, and the beginning of the National Health Service in 1948, when free spectacles were made available to all who might benefit from them. This normalised spectacle wearing and led to a significant increase in the scale of production. Entirely separate categories of women’s spectacles and sports eyewear both emerged in the 1930s. The latter half of the twentieth century saw spectacles become more fashionable and stylish as frames with different shapes, materials, and colours became available. Plastics frames, in particular, allowed a greater choice of colours and textured finishes. Plastic lenses were more durable and could be made lighter and thinner than glass, spurring a renewed interest in rimless designs. Designer eyewear bearing popular high-street brand names encouraged patients to regard spectacles as a desirable commodity, even as a fashion accessory, not just a disability aid. https://www.college-optometrists.org/the-british-optical-association-museum/the-history-of-spectacles These spectacles and case from F.G. and R.G. Bennett of Warrnambool were used by Dr. Angus to test his patients' eye sight. They were donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he would take time to further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . The organisation began in South Australia through the Presbyterian Church in that year, with its first station being in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill where he’d previously worked as Medical Assistant and purchased a share of the Nelson Street practice and Mira hospital from Dr Les Middleton one of the Middleton Brothers, the current owners of what was once Dr Tom Ryan’s practice. Dr L Middleton was House Surgeon to the Nhill Hospital 1926-1933, when he resigned. [Dr Tom Ryan’s practice had originally belonged to his older brother Dr Edward Ryan, who came to Nhill in 1885. Dr Edward saw patients at his rooms, firstly in Victoria Street and in 1886 in Nelson Street, until 1901. The Nelson Street practice also had a 2 bed ward, called Mira Private Hospital ). Dr Edward Ryan was House Surgeon at the Nhill Hospital 1884-1902 . He also had occasions where he successfully performed veterinary surgery for the local farmers too. Dr Tom Ryan then purchased the practice from his brother in 1901. Both Dr Edward and Dr Tom Ryan work as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He too was House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. Dr Tom Ryan moved from Nhill in 1926. He became a Fellow of the Royal Australasian College of Surgeons in 1927, soon after its formation, a rare accolade for a doctor outside any of the major cities. He remained a bachelor and died suddenly on 7th Dec 1955, aged 91, at his home in Ararat. Scholarships and prizes are still awarded to medical students in the honour of Dr T.F. Ryan and his father, Dr Michael Ryan, and brother, John Patrick Ryan. ] When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery states “HOURS Daily, except Tuesdays, Fridays and Saturday afternoons, 9-10am, 2-4pm, 7-8pm. Sundays by appointment”. This plate is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. Dr Edward Ryan and Dr Tom Ryan had an extensive collection of historical medical equipment and materials spanning 1884-1926 and when Dr Angus took up practice in their old premises he obtained this collection, a large part of which is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. During his time in Nhill Dr Angus was involved in the merging of the Mira Hospital and Nhill Public Hospital into one public hospital and the property titles passed on to Nhill Hospital in 1939. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. ). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (The duties of a Port Medical Officer were outlined by the Colonial Secretary on 21st June, 1839 under the terms of the Quarantine Act. Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII 1941-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. Their interests included organisations such as Red Cross, Rostrum, Warrnambool and District Historical Society (founding members), Wine and Food Society, Steering Committee for Tertiary Education in Warrnambool, Local National Trust, Good Neighbour Council, Housing Commission Advisory Board, United Services Institute, Legion of Ex-Servicemen, Olympic Pool Committee, Food for Britain Organisation, Warrnambool Hospital, Anti-Cancer Council, Boys’ Club, Charitable Council, National Fitness Council and Air Raid Precautions Group. He was also a member of the Steam Preservation Society and derived much pleasure from a steam traction engine on his farm. He had an interest in people and the community He and his wife Gladys were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Spectacles and case, from the W.R. Angus Collection and used by Dr. Angus testing the sight of his patients. Metal case covered in blue leather, blue velvet lining. Orange/yellow rimmed spectacles, one lens covered with cardboard. White oval label inside case. Inscription on case with maker’s details in gold print.Inscription on case reads “F. G. & R. G. BENNETT / WARRNAMBOOL”. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, spectacles and case, optical testing, optometrist examination, f.g. and r.g. bennett of warrnambool -
Flagstaff Hill Maritime Museum and Village
Shirt Accessories, Early 20th century
These shirt accessories, including studs and collar stiffeners, were worn by Dr. Roy Angus when dressing in formal wear. They were donated to Flagstaff Hill Maritime Village by the family of Doctor William Roy Angus, Surgeon and Oculist. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine, administration, household equipment and clothing from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Jar of accessories for Formal Wear. Sets of various designs of shirt studs including Mother of Pearl, plus collar stiffeners. Part of the W.R. Angus Collection. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, formal shirt accessories, shirt studs, collar stiffeners, mother of pearl shirt studs, shirt accessories -
Flagstaff Hill Maritime Museum and Village
Belt, late 1920's
This late 1920’s elastic belt is decorated with an anchor, giving it a nautical theme. It was worn by Dr W.R. Angus during his service as ship’s surgeon on ships "BANESHIRE" and the Australian Commonwealth Line’s T.S.S. “LARGS BAY”, when he worked his passage to the UK and return to Australia for his overseas studies. He was awarded the FRCS (Fellow from the Royal College of Surgeons) in 1928 in Edinburgh, Scotland. The belt was donated to Flagstaff Hill Maritime Village, along with photos of the ship LARGS BAY and of Dr Angus in his ship surgeon’s uniform, by the family of Doctor William Roy Angus, Surgeon and Oculist. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI store is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, Dr Angus served with the Australian Department of Defence as a Surgeon Captain during WWII 1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”. This belt is representative of the uniform worn by ship’s staff in the 1920’s. The belt is also representative of Australian medical students travelling overseas to complete their medical studies. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine, administration, household equipment and clothing from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. Belt, part of the W.R. Angus Collection. Elastic belt, black, grey and red horizontal stripes. Round black-painted metal fastening on each end with remnants of gold zing-zag border around buckle’s wreath end an anchor impressed into the buckle’s tongue. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dr w r angus, dr ryan, t.s.s. largs bay, warrnambool base hospital, nhill base hospital, mira hospital, flying doctor, ship medical staff uniform, ship medical staff belt, 1920’s elastic belt with tongue and wreath buckle, tongue and wreath belt buckle with anchor symbol, ship staff uniform, 1920’s belt