Trunk is made strong for long journeys and rough use. Tray compartments would have been fitted inside the lid for storage of smaller items such as hats, umbrellas and underclothing. The illustration pasted inside the lid is similar to those shown in women's fashion journals of the 1880s and 1890s. A similar trunk was found in the catalogue of Anthony Hordern & Sons, a large and famous late 19th to mid 20th century retailer in Sydney,.This trunk is an example of the typical travel luggage of people migrating to the Colony of Australia in the late 19th century.Wooden cabin trunk, rectangular, brown in colour. Lid has arched top, front has a strong padlock, sides have leather strap handles. Corners and edges are reinforced with iron, iron bands and extra wooden slats. Lid is divided into tray compartments. A print of a female in 19th century costume is attached to the inside the lid in one compartment. flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, trunk, cabin trunk, travel trunk, cargo, storage, women's fashion, late 19th century fashion, travel luggage, travel goods

This Journal contains a wide variety of lifestyle subjects, showing an interest in in collection of ladies’ fashion covers, newspaper clippings and personal notes appear to have been gathered by a person with interests in fashion, poetry and the home. The covers dating up to 1870 have signatures such as “E. Preval”, a mid to late 19th century watercolour artist. Covers from 1871 have no signatures but have the word “COPYRIGHT” included in the printing. The name below the illustrations “Moine et Falconer” is a French fashion printer and publisher. The loose newspaper cuttings are dated from 1878 to 1927. Journal, comprising a collection of sixty (60) medium weight cartridge paper covers of the “Ladies’ Supplement of the London Journal” with a selection of newspaper clippings pasted to the back of all but two of the covers. The journal covers are dated between years 1868 – 1877. They each have a hand coloured engraving. Below some of the illustrations is a name and address (in French). Some of the covers have a portrait orientation and others are landscape. Some of the covers have a length of additional paper on the left/top with small print, as though there has been a magazine spine attached. The covers have printed dates and numbers, and some of the illustrations are numbered and have one or two signatures. On the reverse of the covers is a selection of newspaper cuttings, including poetry, Household Receipts (recipes, helpful hints on household matters, quotes, fashion, etc.) and personal notes, carefully cut to fit onto the pages. Hand written dates on some of these articles show that they are not all from the same date, and don’t necessarily correspond to the date of the cover. Some of these pages have been assembled upside down to the front cover. Also included are additional notes and loose newspaper cuttings from 1878 – 1927. Under some of the hand coloured engravings are the printed words “Moine et Falconer, imp. r. St Victor, go Paris” (or similar). There are also one or two signatures on the earlier engravings including “E. Preval”. Printed onto the Journal pages “Price one Penny”. Several of the pages have hand drawn lines and pencil script notes. Many of the newspaper cuttings have a date written in pencil on them. For example, “Stuffing Birds”.. The Ladies’ Supplements have been printed with number for “Published with No. –“, and a number for “Presented with Part -”. Some of the reverse pages have pencil notes beside them. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ladies’ supplement of the london journal, the london journal, journal, 19th century, london journal office, moine et falconer, fashion print, ladies’ clothes, fashion plates, 19th century lifestyle, 19th century fashion, e proval

This item is one of many 19th century items donated to Flagstaff Hill Maritime Village by the Giles Family, and known as the “Giles Family Collection”. Henry Giles was born at Tower Hill, Victoria in 1858 and worked as a labourer on the Warrnambool Breakwater. His wife, Mary Jane, was born in 1860 at Cooramook and worked as a student teacher at Mailor’s Flat Secondary School. The Giles family lived at The Maam, Wangoom in the late 19th century, before moving to New South Wales in 1895, where Henry built bridges. Henry died in 1933 and Mary Jane died seven years later. Flagstaff Hill holds a number of objects associated with the Giles family, which were donated by Flagstaff Hill volunteers Vera and Aurelin Giles (Henry and Mary Jane’s daughter and granddaughter respectively). These are predominantly located in the Lighthouse Keeper’s Cottage and include: Living room • Cloths (made by Vera Giles) • Portraits of Mary and Henry Giles • 1 x dresser • Covers on dresser • 1 x bellows Baby’s room • 1 x blessing (in the baby’s room) • 1 x picture of boy and girl • 1 x rocking chair • 1 x cushion (made by V Giles) • 1 x chest (belonging to Mary Jane Giles’s mother, Jane Fleming who migrated to Australia from Ireland in 1843) • 1 x chest cover • Bed materials Bedroom • 1 x knitted bedspread and cushion cover (knitted by V Giles) • Pillow shams and covers (Mrs Catherine King) • Pillow cases (Mary Giles) • 1 x wash stand (Mary Giles) • Towels (lace knitted by Aurelin Giles) • 1 x washstand cover • 1 x white ceramic dog • Shaving items • 1 x dressing table mirror • 1 x dressing table cover (made by Aurelin Giles) • 1 x framed motto • 2 x texts • 1 x settee (sofa) • 1x wardrobe (Vera Giles donated the wardrobe in the Lighthouse Keeper’s Cottage to Flagstaff Hill. According to Aurelin Giles, it was originally owned by William Swinton junior and was later given to a friend of the Giles family.) Kitchen • Settee covers (made by V Giles) • 1 x sideboard • 1 x butter churner • 2 x pictures • 1 x white cheese dome • 1 x wash-up tray • 2 x jugs • 1 x vegetable bowl and dish • 1 x willow pattern dinner set • Glass butter and jam dishes. 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.Calico bag of assorted fabrics, trims and sewn pieces (originally donated together with sewing machine). Items include clothing, lace, tablecloth, tray cloth, collars, oversleeves, trims, jug cover, lace inserts. (part of the Giles Collection)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, linen, fabric, dressmaking, sewing materials, 19th century sewing, 19th century fashion, giles family, 19th century hand craft, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century clothing, 19th century linen, 19th century handcraft

This textile is one of 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 Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it’s establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation.Sideboard cover, white with crocheted lace on sides. (Part of the Giles Collection)Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, giles collection, linen, 19th century linen, furnishings, 19th century fashion, decor, henry giles, tower hill, cooramook, mailor’s flat, wangoom, 19th century household goods

Shawl of Jane Francis (nee Piper) 1809-1891 This fine woven silk and woollen shawl is from Shetland, Scotland and belonged orginally to Jane Francis. Jane was born in Devon near the village of Bradworthy. She married Joseph Francis (1803-1878) in 1830 in the Bradworthy Parish, Devon, England and wore the shawl over her wedding dress on her wedding day. Jane and Joseph came to Geelong in 1853 with their family. Jane’s sister and brother were in Geelong and their eldest daughter Elizabeth had arrived in 1849. They arrived on the ship 'Euphemus' at Point Henry, Geelong, on July 20, 1853 and travelled across the bay in the steamer Duncan Hoyle. Jane was wearing the shawl on her arrival in Geelong. They went to live in Sharp Street Chilwell in a house owned by their son in law, John Price, which they later purchased. Jane became well known as a ‘midwife’ having had 10 children of her own. She is known to have delivered twin girls in Fyans Street; Ada and Myrtle Downie in 1884. Jane’s youngest son William (1848-1932) was a spinning master, timekeeper and pay clerk at the Victorian Woollen Mill (later the Godfrey Hirst Excelsior Number Two mill) and together with William Cook owned a wool scour on the Barwon River at Marnockvale. William’s grandson Arthur (1917-1992) was a wool classer undertaking his course at the Gordon Institute and became a wool valuer at Strachan & Co. For a time he taught part time in the Gordon course. Arthur’s son Robert was also a wool classer and worked at the Australian Wool Testing Authority. The shawl was used as a bed spread at 'Woodstock' by Jane's son William and then by his two children Laura and Eve. After their deaths, Eve in 1947 and Laura in 1963, the shawl was passed to their youngest sister Ethel (Effie) Frier (nee Francis). She had no children and it was passed on to grandniece Pat Norman (nee Hughan). Pat then passed the shawl to cousin Carollyn Williams (nee Francis) who donated the shawl to the National Wool Museum. - Donor, 2026 The Francis family were tenant farmers, and the donor speculated that the shawl could potentially have been a wedding gift from the land owners.Wool and silk fringed cream coloured shawl featuring a paisley pattern in tones of maroon, green, blue, brown and cream.shawl, 19th century, fashion, clothing, design, paisley, migration, geelong, point henry

Silver picture frame with tennis motif. Contains print on paper of women on a tennis court, wearing 19th Century fashions. Leather-covered wood stand. Materials: Silver/Metal, Wood, Leathertennis

This beautiful, dainty wedding or bridal gown was made for a petite fiture and dates to around the 1860s. The wedding dress is a fine example of bridal fashion of the 1860s. It shows the careful workmanship of the dressmaker.Wedding dress or Bridal Gown circa 1860, comprising wedding dress and veil. A gown of very fine cotton with long sleeves, a high neck and waist, and a tiered skirt. The neckline features a lace insert and a decorative panel in the body of the dress, with a train at the back. It has a hook and eye closure. The veil is silk. The dainty gown is a modern Size 8.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, bridal clothing, wedding gown, wedding dress, silk bridal veil, 19th century wedding dress, bridal gown, mid-19th century, 1860s, dressmaking, fashion, wedding, bride, bridal fashion, antique

The donor was given this doll about 50 years ago by her grandfather (in the late 1960s). He used to be a handyman at a high rise building in St Kilda, Melbourne. He had been doing some work for one of the old ladies and she gave him the doll to give to his granddaughter, who collected dolls. The doll has spent a few years at the Nagambie museum until it closed down and returned to the donor The origins or age of the doll are unknown. Originally it was thought to be a Fashion Doll dating from around the 1880s but the painted face together with the bisque legs and gold painted shoes are similar to those found on Boudoir Dolls (also known as Bed Dolls, Sofa Dolls, Flapper Dolls and French Dolls) of the early 20th century. Fashion dolls were sent from fashion houses to advertise the latest styles, fabrics, trims, hairstyles and accessories. Dressmakers would show these dolls to their customers. Ladies would then place their order and the dressmakers would make the dress to their size. The dressmakers would learn the construction techniques from examining the dolls. Boudoir Dolls dolls usually had no maker's marks and were primarily used as bedroom decorations for ladies rather than as children's toys. This doll appears to date at about the early part of the 20th century, but the petticoats are much older - possibly from a child's christening gown. At the time that the donor received the doll, it had a coloured lace over-gown that was badly torn so her mother removed it to replace with more lace but this never eventuated. The pink silk dress also appears to have been remodelled into a 19th century style with gathered sleeves and a gathered skirt. This fashion or boudoir doll is significant for being a rare example of a doll made in the late 19th or early 20th centuries. The doll is wearing clothing representing the fashion for young girls in that era. The doll is also significant as an item possibly used by fashion houses and dressmakers to advertise the latest fashions in clothing, trims, accessories and hairstyles. A doll such as this may have been found in a Victorian dressmaker's premises for use as a pattern and technique template and for a display to customers. It may also have been used as a decorative item in a lady's bedroom.Female boudoir doll with silk face and body, and porcelain lower arms and legs. She has plaited blonde silk hair. Her painted face has brown eyes and her shoes are painted gold. The doll is dressed in a long pink puffed-sleeve dress with a gathered waist and a ruffle at the hem. A pink ribbon around her waist is tied at the back. There are small silver balls hand-stitched around the neckline. She has a white, hand-embroidered lace petticoat and bloomers.warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, doll, boudoir doll, female doll, dressmaker's doll, display doll, late 1800s doll, fashion doll, antique doll, 19th century doll, children's fashion, girl's fashion, late 1800s children's fashion, early 20th century doll, composite doll, french doll

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Fashion (or clothing/costumes) in the collection was largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This short, beaded 'flapper' dress was worn by Mrs Udora Freame to a ball at the Hawthorn Town Hall in the 1920s. Donated by her daughter, the dress is the earliest item of fashion in the collection where provenance can be linked to a local civic event.Sleeveless black chiffon 'flapper' evening dress with v-neck. The dress is embroidered with silver thread using chain stitch and glass beads simulating Parisian jet.women's clothing, australian fashion - 1920s, evening dresses, udora freame, evening wear, flapper dresses, mayoral balls -- hawthorn (vic.)

Originally the Bow Chair started off life with the name of the ‘Smoker’s Bow Chair’ where originally, it wasn’t designed for grandeur like many chairs of the time, but instead was designed for practicality and comfort. The original Smoker’s Bow Chair was a simple chunkier version of the Windsor Chair design which first appeared in the 1820’s. Although it lacked the high back found on any Windsor Chair of the time, it maintained a heavier, sturdier appearance. The main feature was a hoop or bow which was fashioned from steamed wood. This was then curved to make both the back support and arms. The chair also consisted of a wide seat, supported by 4 splayed, spindle legs. In its original form it was found in many country kitchens of the day as well as in many inns and public houses throughout the United Kingdom. Its name of the "Smoker’s Bow Chair" because the sweeping armrests were the perfect height to support a smokers arm when smoking a pipe.A significant piece of furniture from the late 19th century designed for a specific purpose, smoking. These chairs are now highly collectable and valuable today and avidly sought by collectors of antique furniture.Chair wooden dark brown "Smoker's Bow" chair, with wide and deep seat with broad arms, turned spindles and thick turned legs joined by a double stretcher.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, furniture, captains chair

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. Company History: The Holtzapffel dynasty of tool and lathe makers was founded in Long Acre, London by a Strasbourg-born turner, Jean-Jacques Holtzapffel, in 1794. The firm specialized in lathes for ornamental turning but also made a name for its high-quality edge and boring tools. Moving to London from Alsace in 1792, Jean-Jacques worked initially in the workshop of the scientific-instrument maker Jesse Ramsden, Anglicizing his name to John Jacob Holtzapffel. In 1794 he set up a tool-making partnership in Long Acre with Francis Rousset and they began trading under the name of John Holtzapffel. From 1804 he was in partnership with the Mannheim-born Johann Georg Deyerlein until the latter died in 1826, trading under the name Holtzapffel & Deyerlein. Holtzapffel sold his first lathe in June 1795, for £25-4s-10d, an enormous price at the time. All of Holtzapffel's lathes were numbered and by the time he died in 1835, about 1,600 had been sold. The business was located at 64 Charing Cross, London from 1819 until 1901 when the site was required "for building purposes". The firm then moved to 13 and 14 New Bond Street and was in premises in the Haymarket from 1907 to 1930. John's son, Charles Holtzapffel (1806–1847) joined the firm in 1827, at around which time the firm became known as Holtzapffel & Co. Charles continued to run the business after his father's death. He wrote a 2,750-page treatise entitled Turning and Mechanical Manipulation, published in 1843 which came to be regarded as the bible of ornamental turning. The final two volumes were completed and published after his death by his son, John Jacob Holtzapffel (1836–1897). When Charles Holtzapffel died in 1847 his wife Amelia ran the business until 1853. John Jacob II, the son of Charles and Amelia, was head of the firm from 1867 until 1896. A nephew of John Jacob II, George William Budd (1857–1924) became head of the firm in 1896. His son John George Holtzapffel Budd (1888–1968) later ran the business. By the early twentieth century, ornamental turning was going out of fashion, and the firm sold its last lathe in 1928. A vintage tool made by a well-known firm made for firms and individuals that worked in wood. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture or other items this had to be accomplished by hand using one of these types of planes. A significant item from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture was made predominately by hand and with tools that were themselves hand made shows the craftsmanship used to make such a unique item. Moulding Plane Holtzaffel 64 Charing & Owner J Heath 9/16" marked opposite endflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, plane, j heath

This tin of boot polish was a product sold be Cramond and Dickson store, which traded in Warrnambool from 1855 - 1974. John Glass Cramond and James Dickson migrated from Scotland to Melbourne, where they opened a Cramond and Dickson store in St Kilda. They were inspired by the growth in Warrnambool after a visit and opened a second store there in 1855. The Cramond and Dickson store, grocers – drapery – ironmongery - chemist, was located on the corner of Liebig and Timor Streets, Warrnambool. Both Cramond and Dickson were involved in the business and social aspects of Warrnambool’s community. Cramond and Dickson closed in 1974. An advertisement placed by Cramond and Dickson in The Camperdown Chronicle, Saturday 6th April 1895, states them “showing the latest novelties for the coming winter season” … “import directly from English and Continental manufacturers” … “representatives in London … always in touch with the Newest Continental Fashions” ... “having been established for so many years we know the requirements of the Western District”… “allow 5 percent discount on goods paid for at the time of purchase”.The tin of boot polish is an example of the goods sold in Warrnambool in the 19th and early 20th century. It s significant for its association with Cramond and Dickson, a large retail store established in Warrnambool and operating from 1855 to 1974. Both partners were prominent figures in the community.Container: a tin of boot polish, with a small amount of light tan polish inside. Inscribed for the makers, Cramond and Dickson, Warrnambool, Port Fairy & Londo. Labelling is partly obscured by corrosion. Instructions for use are on the base of the tin. "C and D Tan Boot Polish" and "Cramond and Dickson, Warrnambool, Port Fairy & London" and "For best results, remove all dust and apply a little C and D Dressing, Brush Briskly" "Weight when packed 1 1/2 ozs net"flagstaff hill maritime museum and village, flagstaff hill, maritime village, maritime museum, shipwreck coast, great ocean road, warrnambool, boot polish, shoe cleaning, grooming, cramond and dickson, warrnambool business, department store, commerce, timor street, liebig street, port fairy business, metal craft, tinware

This handmade blouse with its matching belt was donated along with a note that says, "This jacket was owned by Marion Leishman who married Captain Eadie. They lived in Warrnambool and are buried at Tower Hill Cemetery." The spelling on the headstone is "Edie" rather than "Eadie". Marion Leishman Edie was born in 1835 and died on August 7, 1914. She married Captain Richard Wilson C Edie in 1865. Capt. Edie drowned at sea on 16th June 1883 aged 49 years. Marion Leishman Edie died on 7th August 1914 aged 79 years. Her sister Alison Keishman Sprod, died in 1863, aged 25 years, and is also buried in the same grave at Tower Hill. The fine satin blouse and matching belt is an example of clothing worn by women in the mid-to-late 19th century. It demonstrates the beautiful and talented skills applied to handmade garments. The decoration indicates that the blouse or jacket was worn for a special occasion.Blouse of black satin, decorated with lace and sequins. Long sleeves are puffed at the shoulder fitted at the lower arm and cuff. The belt has sequins and tassels. Black lace is added around the neck and bodice, fastened at the front with hook and eye.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, costume, blouse, belt, female adult, clothing, fashion, satin, lace, wonem's clothing, marion leishman, captain eadie, tower hill cemetery, marion eadie, jacket, black satin jacket, sequins, marion edie, richard wilson c edie, drowned at sea, marion leishman edie, handmade, black jacket, sequined satin jacket

This cash ball was used by Cramond and Dickson, a large clothing store on the corner of Liebig and Timor Streets, Warrnambool. The Cash Ball system serviced the ground floor, which measured about 30 metres by 25 metres. An overhead pipe connected each service point in the store, with the pipes connected to the upstairs office. The ball would be filled with a note of details of the sale, and the cash payment; a vacuum system would be activated that would transport the ball upstairs to the office, where details were recorded and the change assembled. Change was placed in the ball, and the vacuum system was activated to return the ball to the correct sales point. A frequent customer has reported that she never remembered the system not working efficiently, and the service was probably quicker than having a cash register at each sales location. John Glass Cramond and James Dickson migrated from Scotland to Melbourne, where they opened a Cramond and Dickson store in St Kilda. They were inspired by the growth in Warrnambool after a visit and opened a second store there in 1855. The Cramond and Dickson store, grocers – drapery – ironmongery - chemist, was located on the corner of Liebig and Timor Streets, Warrnambool (now the site of a Mexican restaurant). Both Cramond and Dickson were involved in the business and social aspects of Warrnambool’s community. Cramond and Dickson closed in 1974. An advertisement placed by Cramond and Dickson in The Camperdown Chronicle, Saturday 6th April 1895, states them “showing the latest novelties for the coming winter season” … “import directly from English and Continental manufacturers” … “representatives in London … always in touch with the Newest Continental Fashions” ... “having been established for so many years we know the requirements of the Western District”… “allow 5 percent discount on goods paid for at the time of purchase”.The cash ball represents an efficient retail system used in the late 19th to mid 20th century to securely transfer cash from one part of the store to another. It is significant for its association with Cramond and Dickson, a large retail store established in Warrnambool and operating from 1855 to 1974. Both partners were prominent figures in the community.Cash ball: a wooden, round, hollow ball in two pieces. Two half spheres that fit into each other securely. Both are marked with carved characters. "B4" and one has "Fancy" marked on it. It was used by Warrnambool's Cramond and Dickson clothing store. "B4" "Fancy"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cash ball, cramond and dickson, office equipment, retail equipment, cash handling, sales, warrnambool business, department store, commerce, timor street, liebig street

Pince-nez were a style of spectacles that held on to a person's nose by a spring mechanism and was popular in the late 19th and early 20th centuries in European cultures.The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.A pair of brass pince-nez styled spectacles with a loose brass chain earpieceA01156.2glasses, eyewear, fashion

Pince-nez were a style of spectacles that held on to a person's nose by a spring mechanism and was popular in the late 19th and early 20th centuries in European cultures.The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.A pair of brass pince-nez styled spectacles.glasses, eyewear, fashion

This hat belonged to Mr William Grant, Shire President of Bacchus Marsh. Mr Grant and his wife were invited to the opening of the first Federal Parliament held in the Royal Exhibition Building, Carlton, on the 9th May 1901. The opening was attended by the Duke and Duchess of Cornwall and York (later George V and Queen Mary) and 12,000 guests. Mr Grant's family were early settlers in Bacchus Marsh, and both he and his father were influential people in the town. They owned the property "Millbank". When William Grant died in 1924, his obituary in the 'Express' listed 17 public positions he held, including severaal terms as Shire President.This item has historical significance at a local, state and national level. It is representative of formal gentlemen's dress in the latter part of the 19th century/early 20th century.Gentleman's black shiny velour top hat with silk ribbon band, bound inside with leather sweat band, adjustable with silk ties. Inscription inside hat. Purple lining with gold embossing. Light canvas coated inside. Protective silver paper sweat band under leather sweat band.Inscription in gold inside hat reads "GREASE PROOF / Prize Medal" / Royal Insignia with motto "Honi soit qui mal y pense" / "VENTILATED / AND / FELT BANDED".1910, top hat, gentlemen s fashion, mr grant, velour, ninteenth century attire, skilled hatter, upper class attire, formal wear, monopoly token, president bacchus marsh shire, federation celebrations 1910, federation, owner millbank, mad hatter, opening parliament 1910, royal exhibition building, original box, greaseproof prize medal royal isignia, the sea breeze, no 5044, size 6, 7 8

Originally the Bow Chair started off life with the name of the ‘Smoker’s Bow Chair’ where originally, it wasn’t designed for grandeur like many chairs of the time, but instead was designed for practicality and comfort. The original Smoker’s Bow Chair was a simple chunkier version of the Windsor Chair design which first appeared in the 1820’s. Although it lacked the high back found on any Windsor Chair of the time, it maintained a heavier, sturdier appearance. The main feature was a hoop or bow which was fashioned from steamed wood. This was then curved to make both the back support and arms. The chair also consisted of a wide seat, supported by 4 splayed, spindle legs. In its original form it was found in many country kitchens of the day as well as in many inns and public houses throughout the United Kingdom. Its name of the "Smoker’s Bow Chair" because the sweeping armrests were the perfect height to support a smokers arm when smoking a pipe.A significant piece of furniture from the late 19th century designed for a specific purpose, smoking. These chairs are now highly collectable and valuable today and avidly sought by collectors of antique furniture.Chair wooden dark brown "Smoker's Bow" chair, with wide and deep seat with broad arms, turned spindles and thick turned legs joined by a double stretcher.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, chair, furniture, smokers chair, bow chair

A harpoon is a long, spear-like instrument used in fishing, whaling, sealing, and other marine hunting activities to catch large fish or marine mammals, such as whales. It accomplishes this task by impaling the target animal and securing it with barbs or toggling claws, allowing the fishermen to use a rope or chain attached to the projectile to catch the animal. The earliest known harpoons have been dated back to being made and used approximately 90,000 years ago. In the early whaling industry, the two-flue harpoon was the primary weapon used around the world. The two fluke harpoons tended to penetrate no deeper than the soft outer layer of a whale's blubber. So, it was often possible for the whale to escape by struggling or swimming away forcefully enough to pull the shallowly embedded barbs out backwards. This design flaw was corrected in the early nineteenth century with the creation of the one-fluke harpoon. By removing one of the flukes, the head of the harpoon was narrowed, making it easier for it to penetrate deep enough to hold fast. In the Arctic, the indigenous people used the more advanced toggling harpoon design, and by the mid-19th century, the toggling harpoon was adapted by Lewis Temple. The Temple toggle was widely used and quickly came to dominate the whaling industry.The hand-forged harpoon demonstrates the blacksmith's art for fashioning an item used during the early 19th century in the significant industry of whaling. Harpoons were used during a time when the world depended on the natural resources derived from whales; oil for lighting, lubrication, margarine, candles, soaps and cosmetics, as well as the use of the whale's bones for various other items such as corsets, umbrellas, fertiliser and animal feed. The item is significant as it was probably made between 1820 and 1850, after which a single fluke and toggle harpoon began to be used extensively in the whaling industry. Also coming into general use was a black powder gun to fire the harpoon rather than the early type that had to be manually thrown by a mariner from a row boat, of which the subject item is an example.Harpoon: a hand forged, double fluke, steel whaling harpoon with an arrowhead tip on a square shank. The shank tapers to a narrow round shaft with a split metal cone to accommodate a wooden harpoon pole. The harpoon was restored in the 2010s using traditional blacksmithing methods, with the shaft and cone added to the original arrowhead and shank. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, harpoon, whaling, whaling harpoon, fishing industry, whales, one-fluke, two-fluk, lewis temple, marine technology

THE MANNEQUIN The included wooden mannequin made by J.A. Walker of Melbourne has been very well used, as can be seen from the pin marks and split and torn fabric in areas where pins would have been used many times. The painted wood of the bodice is wearing away. The top of the neck is very rough in the centre, indicating that it possibly had a knob, handle or even a head shape on top. The mannequin could have been used for storing and cleaning of the evening outfit and even in the process of making it. It is made to match the measurements of the outfit beautifully and would be close in measurement to Mrs. Isabella Mitchell. Isabella’s sister-in-law Eliza Russell made her own wedding dress and perhaps she or Isabella herself made the evening outfit using the mannequin for fittings. The mannequin is significant as its size gives an image of the shape of the evening outfit’s owner. It is also significant as an example of the process and skills to create garments of fashion during the period, with many people making their own garments. The mannequin is also an example of an item manufactured in Melbourne in colonial times. This wooden display mannequin is from neck to floor length. It has a round pedestal. The mannequin’s bodice has been painted black. It is padded then covered in black fabric. The maker of the mannequin was J.A. Walker of Melbourne. It dates to the mid-late 19th century.Mannequin maker’s fabric label “J.A. WALKER / MANUFACTURER / MELBOURNE”mannequin wooden, mannequin made in melbourne, dressmaker’s mannequin, 19th century mannequin, dress form, display mannequin, custom made mannequin, dressmaker’s dummy, andique mannequin, clothing display, j.a. walker manufacturer melbourne, j.a. walker mannequin manufacturer, evening outfit

This fine lawn handkerchief has machine made lace trim. Although lace was being machine made from the 1600’s the design of the lace on this handkerchief is circa 1900’s. This handkerchief is a representation of fine needlework and women's fashion accessories in the late 19th and early 20th century.White fine lawn cotton handkerchief, square with machine made lace handstitched to lawn. Features two separate types of lace which are carefully cut on the edges. The design of the lace is circa 1900s.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, handkerchief, lace handkerchief, woman's handkerchief, women's accessory, fine fabric craftwork

The handkerchief was on display at Flagstaff Hill reception area from 2008-2105 as an example of fine needlework with a lace pattern typical of the early 1900's. During that era the house mistress would often carry two handkerchiefs, one for blowing her nose and one out on show, perhaps in an apron pocket.This handkerchief is an example of fine handmade needlework. It is also an example of women's fashion accessories in the late 19th and early 20th century.White starched silk handkerchief, square shape, very soft fabric edged with 5cm embroidered net lace. Net was embroidered as a strip then joined at corners. The design is backstitched then the lace has been joined to the fabric using blanket stitch. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, handkerchief, lace handkerchief, woman's handkerchief, women's accessory, silk handkerchief, fine handcraft, needlecraft, ladies' handkerchief, 1900s

This amber satin evening outfit was worn by Mrs Isabella Mitchell (nee Russell, 1840 – 1929) at the wedding of her brother Alexander (c.1846–1938) and Eliza (nee Moore, c.1854–1939). The jacket and skirt attach at the waist by joining the metal rings around the base of the jacket, and the metal hooks on the waistband of the skirt. The outfit was donated with its own mannequin and fits it perfectly. In the colonial days, outer clothing was rarely, if ever, washed, due to the expense of fabrics and the difficulty in careful laundering. Clever methods were employed to reduce the occurrence of soiling. The mannequin included with the donation would also help keep the outfit in good shape and ensure a flattering fit. FAMILIES’ HISTORY The families connected with this wedding, where the outfit was worn, are from Warrnambool’s colonial days. Isabella and Alexander’s parents, Robert Russell and Elizabeth (nee Mitchell), were born in 1808 and married about 1830. They were from farming families in Northern Ireland, where they raised their seven children before migrating to Australia in the early colonial days, around 1857. Their graves are in the Tower Hill Cemetery. Alexander’s wife, Eliza (nee Moore, born in 1854), was also from Northern Ireland and migrated to Australia in 1858 with her parents, Thomas and Nancy Moore, in the last voyage of the sailing ship “Chance”. Isabella (Bella) talked with her granddaughter Ruby Akers about her memories of Alexander and Eliza’s wedding and other events in her life. Ruby recorded these memories in a letter. She says, “They were married in the Warrnambool Congregational Church by a pioneer minister, the Reverend Uriah Coombs. The bride wore a pale blue silk wedding gown, which she made herself. Bella was Matron of Honora, and Ian McCasker was best man. In those days, the transport to the church was usually a carriage – similar to a cab – and a pair of white ponies. They would have the reception at home, go for a drive afterwards, and at night there would be a dance. They did all the catering themselves … Eliza carried on farming in the Dennington, Yarpturk and Purnim districts until they moved to Camperdown around 1905…” Ruby’s letter later mentions “[Isabella] could recall seeing a blackfellows’ corroboree being performed near where the Dennington Bridge now stands. It was rather a terrifying experience; they seemed to be in a warlike mood, and one never knew what they would do next. One lubra came running to Granny, crying, Hide me, bad man kill me. She was bleeding from a wound in the head: probably the result of a blow from a waddy. My mother [Margaret Jane McLaughlan nee Mitchell], coming home from school in the 1800s, often met blackfellows walking ahead with spears and boomerang, the two lubras – they usually had two – following in the rear, carrying the children or any burdens they had.“ Margaret was probably in primary school at the time she saw these things. Alexander and Eliza had ten children. One of their daughters, Margaret Jane, was born in Warrnambool in 1879. She married William McCullagh, and they had eleven children. Margaret made headlines in the Warrnambool newspapers for celebrating her 100th birthday. She had lived in the district for 60 years before moving to Melbourne. Alexander passed away at the age of 92, and Eliza passed away six months later, aged 85. Their graves are in the Colac cemetery. Isabella married Ralph Mitchell, and their daughter Margaret Jane married John McLauchlan in 1891. Margaret and John’s daughter, Ruby Elizabeth Jane, married Fredrick Akers in 1938. Fredrick, born in England, was a Boer War veteran and served in the British Army. He migrated to Queensland, Australia, in 1913, and joined the Australian Army to fight in World War I. In 1935, he moved to Warrnambool, where he served in the Volunteer Defence Corps from 1938 to 1945. Both Ruby and Fredrick are buried in the Tower Hill Cemetery.The evening outfit and its accompanying mannequin serve as notable examples of female fashion from the mid to late 1900s. These items reflect the styles and trends that were prevalent during this period, offering insight into the clothing choices and cultural influences that shaped women's attire. Beyond their representation of period fashion, the outfit and mannequin are significant due to their association with colonial pioneer families from Australia, specifically Victoria and Warrnambool. These families played an important role in the development and history of the region, and the items are linked to their legacy. The evening outfit and mannequin are also notable for their connection to a wedding that united two colonial families originating from Northern Ireland. These families immigrated to Australia in the mid-1850s and became influential figures within the Warrnambool district. The wedding marked a significant event, symbolising the merging of two prominent family lineages. Furthermore, the significance of the evening outfit and mannequin extends to their connection with the colonial families’ contact with the indigenous culture of the district. These items represent a period of interaction between the native and European peoples, highlighting the cultural exchanges that occurred within the region. This lady’s evening outfit is made from amber coloured satin fabric. It comprises a short-waisted, long-sleeved jacket and a long skirt, and it has its own neck-to-floor wooden mannequin on a pedestal. The outfit was worn by Mrs Isabella Mitchell (nee Russell) as the Matron of Honour at the wedding of her brother Alexander Russell and his fiancée Eliza Moore in Warrnambool, 29th April 1874.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, evening outfit, wedding outfit, bridesmaid’ outfit, matron of honour outfit, clothing female, clothing late 19th century, clothing wedding late 19th century, clothing bridesmaid late 19th century, clothing antique, clothing ladies, women’s clothing, women’s fashion, alexander russell, eliza russell, eliza moore, isabella mitchell, bella mitchell, bella russell, isabella russell, ralph russell, ian mccusker, ruby akers, fredrick william akers, ruby mclauchlan, margaret jane mclaughlan nee mitchell, margaret jane mclaughlan centenarian, william mclaughlan, robert russell, elizabeth russell nee mitchell, irish immigrants, warrnambool volunteer defence corps 1938-1945, antique satin outfit, warrnambool wedding 1874, congregational church warrnambool, reverend uriah coombs, dennington farmer, yarpturk farmer, purnim district farmer, camperdown resident 1905, dennington bridge, indigenous corroboree in dennington, corroboree in warrnambool, 1880s corroboree in warrnambool, lubra and baby, indigenous corroboree in warrnambool, mccullagh family

One pharmaceutical enterprise which put greater emphasis on the manufacturing side of its business and whose successors strengthened this emphasis was Faulding's. A pharmacist, Francis H. Faulding, started his shop in Adelaide in 1841 and formed a partnership with an English physician, L. Scammel, in 1861. From its beginnings the firm showed a flare for innovation. After Simpson's discovery of the anaesthetic properties of chloroform in 1847, Francis Faulding was the first to import chloroform; in 1858 he distributed cocaine preparations; in 1864 he produced the first olive oil from South Australian olives and, after J. Lister's reports in Lancet on the reduction of mortality after surgery with the use of phenol, Faulding began production of antiseptics ('Solyptol') in 1867. Faulding was also the first to utilize the medicinal and antiseptic properties of eucalyptus oil which was obtained from distilleries on Kangaroo Island The Second World War in Europe disrupted the supply of cod liver oil, an important source of Vitamin A. Faulding chemists found an alternative source in white schnapper shark, which sustained supplies in Australia as well as generated exports to the UK . When supplies of I.G. Farben's newly discovered sulpha drugs ran out, Faulding became involved in the national program organised by the Medical Equipment Control Committee (MECC) and, jointly with universities, synthesised sulphanilamide. Following the transfer of American knowhow. Faulding's was also the first private enterprise to produce yet another life saving drug of military importance, penicillin. After the war basic synthesis of antibiotics became difficult to sustain by private enterprise because of the gigantic scale advantages of competing US producers, and competition in the synthesis of new drugs demanded huge investment in R & D; Fauldings maintained their business by a combination of marketing, wholesaling and producing consumer and medical products. In the 1970s, however, Fauldings set a remarkable precedent in research strategy and achievement in the Australian pharmaceutical business. They decided to concentrate their research on drugs which had proven efficacy, but which also suffered from certain shortcomings restricting their clinical usefulness, and to seek advances overcoming these shortcomings. This was an imaginative new strategy, a way of grafting Australian knowhow on to major products, in keeping with local resources and yet offering opportunities for sophisticated skill. At the same time it promised to open internatiSurgeon and onal markets, since the major producers of the basic drugs could hardly ignore significant advances. https://www.samhs.org.au/Virtual%20Museum/Medicine/drugs_nonsurg/Fauldings_drug/Fauldings_drugs.html This decorative gift box once containing Faulding’s Old English Lavender soap or powder belonged to Dr. Angus' wife, Gladys. It was donated to Flagstaff Hill Maritime Village by his daughter, Bernice McDade. 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. Powder or soap in boxes such as this was perfumed and used as part of a women’s personal grooming in the early to mid 20th century. Faulding’s Company began in Adelaide, Australia, in 1845 and made a wide range of cosmetic and perfume products as well as pharmaceuticals. The company is still in operation today. 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 WWII1942-45, 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”.Fauldings Company is a very historical Australian company, still in operating today. The powder box is an example of fashion and grooming in the 1930's in Australia. 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.Container, wooden powder box with separate lid. Round box is made from light coloured timber and was sold containing Faulding’s Old English Lavender cosmetic powder. The wooden bowl is light in colour and the lid has a decal with text and images of two ladies facing each other, a gentleman looking over his shoulder at them, and red roses. From the W.R. Angus Collection.Faulding's Old English Lavender, and picture of old English men and women in period costume.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, shipwtreck coast, dr w r angus, faulding's, lavender, powder, cosmetic

The origin of this necklace of facetted amber-coloured glass beads is unknown. However, its design is reminiscent of jewellery that was fashionable in the late 19th and early 20th centuries.This necklace of facetted amber-coloured glass beads is an example of a women's fashion accessory of the late 19th and early 20th centuries. Necklace; metal chan with facetted ambe beads attached to the lower half. A small chain is added to the clasp. Each teardrop-shaped amber-coloured glass bead is linked to smaller round, lighter-coloured beads, which are then joined to the chain links.flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, accessory, fashion accessory, necklace, facetted beads, amber beads, glass beads, late 19th century, early 20th century

A baleen whale has hard bristly baleen that hangs from its upper jaw inside its mouth instead of teeth. Baleen is made from a protein called keratin, just like human hair and fingernails, and its colour can vary between species, from black to yellow or white. The whale uses the tough, flexible baleen like a sieve to catch its food, filtering the small sea creatures out of the sea water it releases from its mouth. In the19th Century, whales were hunted for the products that could be made from their bodies, such as oil for lubricating machinery, soap making, lamps, heaters and fuel for the lighthouse lights. The flexible baleen was used for whip handles, carriage springs and umbrella ribs. It was also used for the skirt hoops, hat ribs, and rigid ‘stays’ in tightly fitting bodices to enhance their figures. The Southern Right Whales, as well as Blue Whales and Humpback Whales, are baleen whales. The Southern Rights annually visit the ocean off the southwest coast during the breeding season. In the early 1800s whalers hunted along this coastline in their dangerous pursuit of money for the precious cargoes of whale oil and bones. The population of these large animals dwindled quickly and by the late 1840s the whaling industry dwindled. Whaling recommenced from the 1940s to the 1980s when the whale products were used to make margarine and dog food. The baleen sample has been used to educate people about whaling and about the properties of baleen. The baleen sample is significant for its association with 19th century women's fashion. It helps to understand how garments were supported to shape a woman's figure. The baleen sample represents a period when whales were hunted and killed to provide income and products for for the local settlers and for the export industry.Baleen sample from a whale's jaw. Its black shiny hard yet flexible surface is slightly rippled and textured. One end is fringed and the other and a smooth cut edge. The colour varies in places, with stripy brown colouring. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, baleen, whalebone, baleen whale, keratin, 19th century, whaling industry, women's fashion, stays, bodice, women's figures, fashion, clothing, whale oil, baleen colour, whale hunting, whale products, southern right whale, blue whale, humpback whale, southwest victoria, whalers, whale bones

The Queen: The Ladies Newspaper and Court Chronicle or simply The Queen was a magazine created in 1864 in London. The title became "Queen in the 1950s, then "Harpers and Queen" in the UK and then part of the British Harper's Bazaar. In 1861 Samuel Orchart Beeton ("Mrs Beeton"'s husband) had founded a paper named "The Queen" about fashion and culture for upper class women of society. Edward William Cox bought the title the following year and at the same time he bought the Queen's rival that was named "The Ladies' Paper". He merged the two publications into "The Queen: The Ladies Newspaper and Court Chronicle" in 1864. The Queen, The Lady's newspaper was delivered to Australia from UK during colonial times. The fashion page shows designs of dresses that were worn in late 19th century.A rectangular hardboard with a page from a newspaper atatched to one side of it, and a very small one line cut out from a newspaper glued to the other side. There are marks from sticky tape and old paper around the page. The page is of 3 fashion design drawings, titled Smart Autumn Gowns, sketched by our artist at Messrs Redmayne's, 19 , new bond street, w. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, the queen, the lady's newspaper, fashion drawing, messrs redmayne, 1891