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National Wool Museum
Clothing - Jacket, Mrs Jean Inglis, 1988
This jacket is by the prolific spinner and weaver Jean Inglis. It has been woven with a warp of commercially brought wool & a weft of hand spun Corriedale. It is completed in a Swedish lace style of weaving. The highlight of the jacket is the blue section of fabric on the top left shoulder of the wearer, which works down to the bottom right hip. This pattern looks like long thin individual separate sections of fabric stitched to the jacket; however, only one section of fabric has been added. A dying technique has been utilised to give the appearance of multiple sections. This Japanese dyeing technique is called Shibori, “to wring, squeeze or press". It is a manual tie-dyeing technique, which produces several different patterns on fabric. The specific pattern on this fabric is known as Kumo Shibori. It utilises bound resistance. This technique involves folding sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This design requires very precise technique. Specific to this jacket, the fabric for the dyed section was made with the same fabric as the rest of the jacket. A section of the excess fabric was concertina wrapped around a 100mm pipe and tied up before dying. This gives the consistent straight blue lines, with no bleed from the dye. The sections were then sewed into the jacket with the occasional sequin added for additional decoration and glamour. The jacket won 1st prize at the 1988 Geelong Show. Jean was assisted by the dress maker Ruth Randell with some of the design and sewing. Jean always found sewing “a bit of a bore”. The jacket also has an attached swing tag. It was added to provide information to the judges at the Melbourne Show on how the jacket was created. It comes complete with Jean’s self-proclaimed terrible handwriting. It was donated to the National Wool Museum in 2021.Cream singled breasted jacket with no overlap. The jacket has no column of buttons for fastening, or lapels. It is designed to be plain, to not draw attention. The jacket is highlighted by the Shibori dyed waves on the top left shoulder of the wearer, which works down to the bottom right hip. This blue dyed section of fabric is dotted with the occasional blue sequin. Internally, the jacket features a white silk lining for comfort. The jacket ends in a straight cut hem, including at the cuffs. The jacket has an attached swing tag. The swing tag is cream with a printed thin black boarder. Within the boarder, handwriting in black ink is found. It has a hole punch in the top left corner of the swing tag for attaching to the jacket.hand spun, hand weaving, textile design, textile production, shibori, kumo shibori -
Flagstaff Hill Maritime Museum and Village
Post Office Receiving Pillar, 1885
This Post Office Receiving Pillar was restored in 1980 and is now a fully operational Australia Post mailbox. In early August 1980 Prime Minister Mr. Fraser posted Warrnambool’s first commemorative envelope into this restored Post Office Receiving Pillar at Flagstaff Hill Maritime Village. The special limited edition envelopes are numbered 1 – 7000. When posted, the envelopes would have the Flagstaff Hill Logo and Flagstaff Hill Maritime Village’s own postmark of a ship’s steering wheel surrounding a lighthouse and a sailing ship, and were dated August 3 on the First Day Cover. Amongst Flagstaff Hill’s collection is that very first letter posted by Prime Minister Fraser. HISTORY OF POST OFFICE RECEIVING PILLARS In 1851 ‘pillar boxes’ were installed at roadside locations in the island of Jersey, England; they had already been successful in several European countries. The use of new prepaid, adhesive postage stamps as well as the roadside pillar boxes meant there was no need for the public to take a trip to the Post Office just to post a letter. By 1855 London had installed its first six Pillar Boxes. In 1856 the pillar boxes were first introduced in Sydney. These were circular with a crown on the dome, supported by leaves. Early Victoria Mail was originally collected by ‘letter carriers’, first appointed in Melbourne in 1841, equipped with leather bag and hand bell. He wore a red coat with brass buttons and a black top hat! In 1844 two wooden receiving boxes were erected in Melbourne. The first cast iron boxes were installed in South Melbourne (Emerald Hill) and were still in service until 1967. They were a fluted circular design and made in England. In the early 1860’s the ‘low door round’ design posting box was introduced, being circular and surrounded by a crown, with two broad embossed bands around its circumference. The clearance door was in front of the box and low down. These were made in Australia. In the early 1870’s square boxes with a tapering top were being used. These too were made in Australia by different manufacturers with slight variations on style such as the orientation and number of slots. Next came the circular boxes again, similar to the ‘low door round’ but with the clearance door extending to just below the posting slot, often referred to as ‘high door round’. These boxes did not have embossed bands. In 1887 small cast iron boxes were introduced, attached to posts and poles and called ‘lamp post receivers’. Around 1930 a ‘London’ model was used in Victoria. It was copied from the flat-domed type in London but made in Tasmania. [References: Flagstaff Hill Maritime Village records, The Warrnambool Standard, August 1st, 1980, “Stamps.Au” http://www.stampsau.com, 4th April 2011 (Extracted from “Australian Street Posting Boxes” by Ken Sparks – out of print)] Post Office Receiving Pillar, or letterbox.1885 “High Door Round” design. Tall cast iron cylinder with decorative dome cap with crown on top. Side has a slot and a hinged door with handle shaped as a fist. Painted red with gold trim. “POST OFFICE / RECEIVING PILLAR” lettering cast into cylinder. Restored in 1980 and once again operating as an Australia Post mailbox. Commemorative plague on pillar.“POST OFFICE / RECEIVING PILLAR” lettering cast into cylinder. Flagstaff Hill Maritime Museum – Port of Warrnambool. This letter receiver was officially commissioned on 3rd August 1980 by the Prime Minister of Australia, the Right Honourable Malcolm Fraser M.P. on completion of 25 years’ service as the Federal Minister for Wannon.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, post office receiving pillar, letterbox, mailbox, australia post -
Flagstaff Hill Maritime Museum and Village
Spoon, circa 1878
This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Restored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has been electroplated onto a nickel-silver base metal. Spoon has been treated and cleaned to present a shining golden appearance. There is some pitting on the reverse side of the spoon. Four of the five makers marks are clearly visible on the lower rear of the handle: (1) Trade Mark (2) Resurrection Cross (3) Maltese Cross (4) Crab Design.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks -
Flagstaff Hill Maritime Museum and Village
Clothing - Nightgown, Eliza Towns, circa 1890's
This nightgown is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This nightgown is machine sewn by Eliza Towns and she has added a detailed design of pintucks and broderie anglaise lace to the front yoke and cuffs as a decorative element. The 1800's bought a shift in attitude towards modesty as the Victorian era progressed and by the mid to late 1800's it had become more acceptable ladies to wear simple, modest nightgowns. They tended to have a very loose fit and were usually made of linen, cotton or flannel, which had the advantage of providing warmth and also being easy to wash - a necessity for a garment worn next to the skin. Although the basic design of the nightgown was fairly simple, the wearer was free to add various types of trim e.g. lace, crochet, pintucks, embroidery etc.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady's long, white, cotton nightgown with a V shaped bodice decorated with bands of nine pintucks alternating with strips of broderie anglaise lined with pink ribbon. The opening front placket and neckline are bordered with a simpler broderie anglaise lace. The long sleeves are gathered into cuffs with a matching V shape, pintuck and broderie anglaise design. The front placket fastens with three cream buttons although one is missing. The back of the nightgown has gathered fabric on a plain, narrow V shape yoke. A narrow gusset has been added to the both sides at the bottom of the nightgown.Noneflagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, victorian era clothing, victorian era nightgown, nightgown, nightdress, eliza towns, nhill, wimmera, textiles, clothing, machine sewing, hand sewing, pintucks, broderie anglaise, sewing -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, Kew Heritage Review, Residential Places Graded B, Volume 2, 1999, 1999
Graeme Butler & AssociatesProject FilesProvenance OrderBlack 4-Ring binder that includes research about, and an assessment of buildings previously graded B in the City of Kew Urban Conservation Study 1988 by Pru Sanderson Design Pty Ltd. The files were created by the heritage architect Graeme Butler and the paper files include maps, correspondence, title searches, readings, reviews of prior classifications, newspaper and journal articles, directories etc for each property assessed. graeme butler, heritage reviews - kew, 25 mary street, 4 merrion grove, 24 milfay avenue, 24 miller grove, 26 miller grove, 28 miller grove, 82 molesworth street, 27 princess street, 16 queen street, 20 yarra street, 84 walpole street, 118 walpole street, 11 wellington street, 83 walpole street, 25 wellington street, 8 yarra street, 33 wills street, 63 walpole street, 14 vista avenue, 89 studley park road, 12 tara avenue, 75 studley park road, 21 redmond street, 52 walpole street, 51 walpole street, 71 stevenson street, 34 rowland street, 21 stoke avenue, 34 stevenson street, 44 studley park road, 25 studley park road, 13 studley avenue, 2 second avenue, 11 second avenue, 3 second avenue, 36 stawell street, 12 stevenson streetgraeme butler, heritage reviews - kew, 25 mary street, 4 merrion grove, 24 milfay avenue, 24 miller grove, 26 miller grove, 28 miller grove, 82 molesworth street, 27 princess street, 16 queen street, 20 yarra street, 84 walpole street, 118 walpole street, 11 wellington street, 83 walpole street, 25 wellington street, 8 yarra street, 33 wills street, 63 walpole street, 14 vista avenue, 89 studley park road, 12 tara avenue, 75 studley park road, 21 redmond street, 52 walpole street, 51 walpole street, 71 stevenson street, 34 rowland street, 21 stoke avenue, 34 stevenson street, 44 studley park road, 25 studley park road, 13 studley avenue, 2 second avenue, 11 second avenue, 3 second avenue, 36 stawell street, 12 stevenson street -
Kew Historical Society Inc
Archive (Sub-series) - Subject File, Kew Heritage Review, Residential Places Graded B, Volume 3, 1999, 1999
Graeme Butler & AssociatesProject FilesProvenance OrderBlack 4-Ring binder that includes research about, and an assessment of buildings previously graded B in the City of Kew Urban Conservation Study 1988 by Pru Sanderson Design Pty Ltd. The files were created by the heritage architect Graeme Butler and the paper files include maps, correspondence, title searches, readings, reviews of prior classifications, newspaper and journal articles, directories etc for each property assessed.graeme butler, heritage reviews - kew, 4 cameron court, 2 hodgson street, 20 fellows street, 26 fellows street, 23 highbury grove, kew lunatic asylum, kew mental hospital, willsmere, 36 stawell street, 13 studley avenue, 16 studley avenue, 20 studley avenue, raheen, studley park road, beament house, 33 uvadale road, 20 yarra streetgraeme butler, heritage reviews - kew, 4 cameron court, 2 hodgson street, 20 fellows street, 26 fellows street, 23 highbury grove, kew lunatic asylum, kew mental hospital, willsmere, 36 stawell street, 13 studley avenue, 16 studley avenue, 20 studley avenue, raheen, studley park road, beament house, 33 uvadale road, 20 yarra street -
Kew Historical Society Inc
Decorative object - Wallpaper sample from 'Reno', St John's Parade, 1870s
Comparatively few weatherboard houses in Kew survived from the early years of settlement into the second half of the 20th century. One such property was ‘Reno’, which once stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. None of these are apparent in photographs dating from the 1960s, where the garden, which once included rare plants provided by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Wallpaper fragment from ‘Reno’. This large single example is interesting as it represents a change in fashion and style from the finely drawn flowers (1971.0002.1) of an older paper, parts of which can be seen behind this sample. Typically the updating of wallpapers was accomplished by laying a new paper over the old. The ‘newer’ wallpaper is of a single colour, the tone of which may have suffered from colour distortion due to ageing. The new block-printed design, featuring repeated sprays of flowers and leaves combines a bold use of colour with an elegance of design.reno, st john's parade, kew, samuel cocking, wallpaper -
Orbost & District Historical Society
book, Images of Gippsland, C 2008
A paperback book with a bright orange cover of a sunset over a beach, The title text is in white. The book contains maps and coloured photographs. It is written by Alexandra Stevens and photographed by Barry Stevens. It is designed as a souvenir book with 240 pp.gippsland photography souvenir -
Bendigo Military Museum
Headwear - HELMET - RAAF, c. WW2
Helmet issued to John Charles Dean No 144278 RAAF. He enlisted on 26.8.43 aged 18 years and was a LAC in 78 Sqd RAAF. He was discharged from the RAAF on 13.3.46.British designed steel helmet painted a khaki colour. The chin strap is made of light khaki coloured cotton webbing and is secured with an adjustable brass buckle. The liner is black coloured and coated canvas with rubber padding on the crown.On the underside of the rim in black handwriting: 'LAC Dean JC/144278/RAAF'uniforms - raaf, helmet, headwear -
Frankston RSL Sub Branch
Postcard (one of six)
An embroidered postcard which was sent to an Australian family during World War I. The postcard is intricately and colourfully embroidered on silk framed with a cardboard backing. The design is of flowers, foliage and a butterfly with the words "from your soldier boy". -
Flagstaff Hill Maritime Museum and Village
Decorative object - Wall Decoration, 1850 to 1901
This item is part of the Giles Collection, dating back to the late Victorian era, from the 1880s to the early 1900s, in which Queen Victoria ruled England. The queen’s influence was felt throughout the world, including in the United States and Australia where Victorian values shaped society and style, especially in home décor. This period’s distinct style presents an eclectic mix of highly ornamented furniture, wallpaper, and knick-knacks. Particularly in terms of furniture, and the characteristic floral patterns and rich, contrasting colours, wall hangings that enjoyed the height of their popularity during the Victorian era were of the spiritual type with either embroidered or punched paper religious motto or bible quote. Mottoes were commonly hung high up on the wall or in an area of prominence, to remind the viewer of their important message, such as “He Leadeth Me” and “Honesty, Industry, and Sobriety.” Short and pithy, they embodied the ideals of Victorian society. Technological advances contributed to the boom of religious mottoes whereas before the Industrial Revolution home décor of this sort was handmade and therefore minimal, now consumers could purchase and fill their homes with all sorts of mass-produced ephemera goods similar to the subject item. Many of these mass-produced period pieces still exist today, often in their original frames, ceramic, enamelled or paper formats. Flagstaff maritime museum has many examples of mottoes on display that serve to reflect the period in which values of home, faith, and Christianity were very prominent in everyday Victorian society. The Giles Family There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as a family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940.The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established. This wall decoration reflects the social values and attitudes of the late Victorian era that was used to promote good Christian and moral values in many households. These items of decoration were very popular at this time and the subject item is significant as it gives a snapshot into the social norms of past generations. Printed card wall hanging with floral design. Religious text on the sign is embossed onto the card and highlighted in silver print. There is a handwritten ink inscription, and a pencil inscription, on the back. A string is attached to two holes on top of the card. Embossed"THE BLESSING / OF THE LORD/ BE UPON YOU." "PS 129.8." In pencil "H/S" In ink "To dear Granny with lots of love / from Dorothy. X X."flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, paper wall decoration, religious, home decoration, societal values, victorian moral values, wall hanging, wall decoration, spiritual decoration, bible verse, giles collection -
Seaworks Maritime Museum
Medal
Medal with green and yellow fabric with a silver coloured medallion hanging off of it. Medallion features anchor design on one side and muslim crescent moon and star on the other. Sitting in green felt box with gold-coloured hinges.on box "WMA 70" "Malaya trading Co/ Medallists/ Kuala Lumpur" "PMA 0217/2" On medallion "Ulang Tahun Yang Ka Sepuloh/ 1 hb Julai 1973" "PMA 0217/1" -
Glenelg Shire Council Cultural Collection
Souvenir - Tea Towel - Australian Bicentennial, c. 1988
Australian Bicentennial calendar tea towel. Cotton/linen blend, designed in Australia. Made in Poland; images of landing of first fleet, the gold rush, a city scene, Federation, Sydney harbour bridge and new Parliament House.tea towel, souvenir, tall ships, bicentenary -
Halls Gap & Grampians Historical Society
Photograph - Coloured, C early 1970s
The photo is of Mountain Grand guesthouse.Photo shows a large building with verandahs in front of the on the left and right wings. Verandah on the right is semi-circular to accommodate the design of the room behind it. A large eucalyptus tree stands in the foreground. Two cars are parked beside the tree."Kodacolor print, Kodak, April-71M" stamped on back in pink.accommodation, mountain grand -
Australian Commando Association - Victoria
Medal - WW2 Medals - William Alsop 2/10 Commando Squadron, c. 1945
Awarded to William Donald Alsop - 2/10 Commando Squadron during WW2These medals has historic significance as it was issued to William Alsop a Commando in 2/10 Commando Squadron for his service during World War II and has strong provenance as it was donated with a Deed of Gift.The six–pointed star is yellow copper zinc alloy. The obverse has a central design of the Royal and Imperial cypher, surmounted by a crown. The cypher is surrounded by a circlet containing the words ‘The Pacific Star’ and War Medal 1939-45.SX33860 William Alsopww2, world war 2, australian commando, independent company -
Flagstaff Hill Maritime Museum and Village
Badge - British Military badge collection, British Army Officer, 1914-1918
Badges or ‘pips’ such as these ones were worn on the should strap of a British Military Officer during World War I to indicate his or her rank. The badge’s Latin inscription “TRIA JUNCTA IN UNO” is a Latin phrase that translates as “three joined into one”. It is the motto of the Order of Bath and refers to the year 1801 when the two Kingdoms of Great Britain (England and Scotland) were united with the Kingdom of Ireland. The three images of ‘crowns’ serve as the ‘star’ on each badge. The badges are worn with the arches in the three crowns pointing to the top. The sixteen badges were collected by Dr William Roy Angus and are now part of Flagstaff Hill’s comprehensive W.R. Angus Collection, donated by the family of Dr W R Angus, 1901-1970, surgeon and oculist. The badges date to the First World War era, when Dr Angus was a youth. He was a Surgeon Captain for the Australian Defence Forces during World War II when he was in his forties. The W.R. Angus Collection: - The W.R. Angus Collection includes historical medical equipment, surgical instruments and material belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) and 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. It includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. During World War II He served as a Military Doctor in the Australian Defence Forces. Dr Angus and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Both Dr Angus and his wife were very involved in the local community, including the planning stages of the new Flagstaff Hill and the layout of the gardens there. Dr Angus passed away in March 1970.Dr W R Angus (1901-1970), surgeon and oculist, collected a range of military objects including those he personally used during his time as Surgeon Captain in the Australian Defence Forces in World War II. The objects allow insight into military life in the early-to-mid 20th century. 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 includes historical medical objects that date back to the late 1800s.Badge collection; sixteen WWI British Army Officer’s insignia ‘star’ pips. Brass badges are diamond-shaped. The design has a border of leaves around a wreath around and a Latin inscription that surrounds three crown images.“TRIA JUNCTA IN UNO” [translates to 'three joined in one']flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, flagstaff hill maritime museum and village, dr w r angus, w.r. angus collection, badge, insignia, world war 1, first world war, 1914-1918, badge collection, great war, pips, order of bath, tria juncta in uno, british military officer, 1901, british united kingdom -
Flagstaff Hill Maritime Museum and Village
Gramophone needles
Gramophone needles container for 1 time use only."His Majesty's Voice" copyright Loud Tone. Has hinge lid. Top of lid has advertising design of dog looking into speaker. Colour mainly red.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village -
Bendigo Historical Society Inc.
Leisure object - UNDERWOOD STEREOSCOPE VIEWER
An Underwood & Underwood stereoscope viewer, timber with aluminium hood with felt trim moveable card holder and folding handle. Hood etched with design and a Sun Sculpture Trademark U&U, 2 magnifier eye glass pieces.Man'f'd by Underwood & Underwood New York Patented June 11 1901 Foreign Patents applied for.photography, viewers, stereographic -
Bendigo Historical Society Inc.
Book - ABBOTT COLLECTION: BARBWELD BOOKLET
Booklet; buff coloured cover, printed with Barbweld, the new and better barb wire, electric welded. Image on front of sheep in paddock and barb wire. Barbweld was a later improved design of barbed wire from the makers of Barblok.bendigo, industry, abbott supply, abbott supply, barbweld, barbwire, advertising -
Port Melbourne Historical & Preservation Society
Photograph - Court House, Bay Street, Port Melbourne, Arthur Rowan, 1986
As a member of the Port Melbourne Historical and Preservation Society, donor Arthur ROWAN photographed a series of significant buildings in the Port and South Melbourne area over several years. A selection of nineteen of these was presented to the Port Melbourne Society in 1993.Small print mounted on white card, with mounted, typed caption: Court House, 109 Bay St, Corner of Graham St Designed 1860 by JJ Clarke, Works Dept Architect First owner: Colony of Victoriabuilt environment - civic, arthur rowan, j j clarke, architecture, court house -
Kyneton Museum
Vase
Cloisonne vase with all over design of scrolls, stylised flowers, leaves, butterflies. Background is black with scrolls, flowers are red, yellow, pink, two shades of blue, two shades of green. Outlines are gold, base is gold. Catalogue number on base -
Coal Creek Community Park & Museum
Music Book, The Sampson Specialised Course for Piano Accordion
Bone coloured paper book with circular design of piano accordion keys, "The Sampson Specialised Course for Piano Accordion." A Complete 20 Lesson Home Study (Lesson 8) This registration is part of collection Reg. 6142 - 6150. -
Bendigo Historical Society Inc.
Photograph - GREATER BENDIGO PHOTO COLLECTION: EAGLEHAWK TOWN HALL
Photograph. The Eaglehawk Town Hall and Mechanics Institute. Designed by Henry Edmeades Tolhurst in 1864. The building opened on the 1st of February 1865. Officially opened by Mayor Cr. George Loundon on August 14, 1901 with a ribbon ceremony.eaglehawk, history, town hall -
Bendigo Historical Society Inc.
Clothing - AILEEN AND JOHN ELLISON COLLECTION: BLUE, SATIN RIBBON AND LACE GARTER, 1960's
Clothing. 2 cm wide, blue satin ribbon, edged with 1.5 cm wide, blue lace with a floral design, covers the elastic. Satin ribbon 1 cm wide is tied in a bow, with a folded ''extra tails''.costume accessories, female, blue satin ribbon and lace garter -
Bendigo Historical Society Inc.
Document - THE BENDIGO GOLD DISTRICT GENERAL HOSPITAL, 1858
Blueprints: Set of blueprints, elevations and floor plans of the Bendigo Gold District General Hospital 1858. Contains 7 Drawings. Drawings of Vahland's Original Design for the Hospital. Measured drawings by Yuncken Freeman Atchitects Pty Ltd.Yuncken Freeman Architects Pty. Ltd.buildings, hospital, blueprint, bendigo hospital, floor plan, yuncken freeman -
Dutch Australian Heritage Centre Victoria
Jewellery Box (Sieradendoosje)
Links to Dutch East Indies, colonial and Dutch migration history.Wooden box with lid, brass hinges, inlaid design on lid depicting a farm worker, surrounded by foliage, birds and mythical creatures, possibly garuda. Multiple types of wood. Light coloured inlaid piping around sides.arts and crafts -
National Vietnam Veterans Museum (NVVM)
Equipment - Backpack radio
Khaki backpack radio set comprising a metal cased radio unit with material straps to attach ANPRC antenna with case & kit bag attached on frame which is designed to be worn as a backpack.(RT-506/PRC-25)215627.SIG N. Brown SVN 7 RAR 67-68.radio sets -
Tatura Irrigation & Wartime Camps Museum
Book, Numurkah, 1965
Written history of the township of Numurkah, covering squatters, the aboriginals, churches, hospitals, railways etc.Black hard cover. Cover design by Anne Bossence. Dust jacket green, white and brown. Title and author in black print. Sketch on front is of an aboriginal drawing depicting a leaf with an animal on it in green. Back cover whitebossence w, numurkah, numurkah squatters, numurkah aboriginals, numurkah churches, numurkah hospitals -
Clunes Museum
Container - CONDIMENT JAR
UNBRANDED PLAIN GLASS ON BOTTOM WITH 2 ROUNDED SHOULDERS TOP HALF WITH FROSTED LEAF DESIGN ON TOP SHOULDER. FROSTED DOTS ON SECOND METAL LIFT UP LID HAS KNOB ON TOP AND SPOON HOLE ON SIDE.local history, domestic item -
Nillumbik Shire Council
Public Art: Tom SANDERS (b.1925-d.2008 Vic, Aus), Tom Sanders, Wall of the Moon (Homage to Miro) - (Location: Eltham Town Square, Arthur Street, Eltham), 1968
Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. In 1957 he left for Europe and while there was inspired by the Spanish artist Joan Miro’s unconventional painting style and large scale murals, in particular Wall of the Moon (1957). After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals, some of which were commissioned for Southland Shopping Centre in Cheltenham, Melbourne, 1968 (now demolished), the National Mutual Centre, Melbourne,1964-5 (now demolished), Dee Why Library, Sydney 1966, Woden Valley High School, ACT, 1967, Tullamarine Airport Melbourne, 1969-70 (now demolished), Perth Concert Hall, 1971 and The University of Melbourne,1975 (with John Olsen). This mural is one of only three remaining in the public realm by Tom Sanders (the others are at the Perth Concert Hall (1971) and at the University of Melbourne (1975). Ceramic mural (earthenware tiles) consisting of a playful/organic abstract design similar in style to the Spanish artist Joan Miro. Shades of blue, yellow and black glazes are layered onto matte black and shiny bronze tiles. N/Amural, public art, earthernware, pottery, ceramics, glaze, eltham, ekphrasis2017, eltham town square, joan miro