Appears as an illustration in, "Green Grows Our Garden," A.P. Winzenried p 90. The caption reads: Students working on individual plots: glass cloches were popular for a long time."Black and white photograph. Male students working in their individual vegetable plots. Note the glass cloches. Fruit trees in the background.On reverse, "1950's."glass cloches, green grows our garden, a.p. winzenried, vegetables, students working outside, male students, fruit trees, orchard

James Dixon & Sons were founded in 1806 in Sheffield and were one of the major British manufacturers of the Industrial Revolution. They were manufacturers of pewter ware, electroplated Britannia metal, silverware, and electroplated nickel silver. Their products included hundreds of items for use in the kitchen (e.g. bowls, cutting tools) and the dining room (e.g. tea services, cocktail shakers, and mixers) as well as items such as candlesticks. They were a world leader in manufacturing shooting accessories through the nineteenth century and exported powder flasks in large quantities to America, They were known as whistle makers, which like most of their products were of outstanding quality. They were located first at Silver Street (1806), Cornish Place (1822) Sheffield. Their registered trademark since 1879 was a Trumpet with a Banner hanging from it. Although registered in 1879, the "Trumpet with Banner" logo was used at times before registration and appears on some of their silver plate pieces. They were one of the foremost names in EPNS and sterling silver tableware including silver tea services and hollowware pieces. They also made silverware serving pieces and had a wide catalogue of patterns. Their tea sets and hollowware pieces produced in silver are now very valuable as antiques. The firm continued to be a family-run enterprise until 1976. The patterns are currently owned by another Sheffield firm that exports products mainly to the Middle East.An item made for domestic use late19th to early 20th century by a renowned maker of pewter and silverware products. These types of products give us a snapshot into domestic and social life during the time it was made.Pewter Cloche or cover for food ornate handle at top. Ring on one end. Number 399 inside lid & Dixon & Sons Sheffield.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pewter ware, james dixon, silver ware, kitchen cutlery, britannia steel, food cover, cloche

For most people, a cloche—the dome-shaped covering for a dish that’s removed before serving—is only ever encountered on-screen, likely in the hands of a butler in an English period drama. Not only does the word itself sound haughty (it comes from the French word for bell), it is a fundamentally theatrical object, existing to conceal and reveal food—or on occasion, a severed head. Why, if you’re not an old-timey aristocrat or movie villain, would you have use for a cloche? The answer is bugs. If you’ve ever had the pleasure of eating outside, you’re probably aware that bugs exist, and they often want some of what you’re having. Particularly during the summer and warm weather entices people into alfresco dining, the presence of bugs can be a nuisance for which there’s rarely an elegant solution. Did somebody say elegant? Let’s bring in the cloche. Specifically, let’s talk about a mesh cloche, which is different from the glinting silver semi-sphere discussed earlier. Dome-shaped but made of stiff wire mesh or cloth, this cloche is far from frivolous and is an excellent tool for any outside dining plans. First and foremost, it can keep insects out of your food, saving you from sitting and swatting your hand over the salad to keep flies away. Especially if you’re setting up a large buffet spread of dishes for a family-style meal outdoors, using mesh coverings takes a little bit of the pressure off when it comes to timing: just put the food out there, cloche it, and finish bringing everything else to the table. Also, there’s no harm in keeping them on during the meal, as it’s easy to pick up the lid, serve yourself more food, then plop it back down, in comparison with wrap, foil, or cloth, which can blow away in the wind, fall into the food, or require two hands for proper recovering. https://www.epicurious.com/expert-advice/covering-your-food-with-a-cloche-is-dramatic-and-useful-articleThe cloche or food cover was, and still is, the perfect way to prevent insects and other small vermin from interfering with and compromising the condition of food, both inside and outdoors.Metal oval food cover with decorative pressed tin lid and perforated holes around the side. Metal handle on top. Painted pink on top and green on the side.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cloche, food, cover

Plants growing under glass cloches in a glasshouse.plants, glass cloches, glasshouses

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.The hat was owned and worn by Lilian Cohen.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. 1920s navy blue felt cloche hat. The irregular border of the cloche is highlighted by a ruched band of emerald green velvet. The hat is part of the McIntyre Collection.Nilhats, australian fashion - millinery, fashion accessories, mcintyre collection, lilian cohen

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Corduroy velvet cloche hat decorated with silk and feathers.Nilwomen's clothing -- hats, headwear, cloche hats

Black and white photograph of Phyllis Beyer wearing a cloche hat and fur tippetgenealogy, clothing

From the Betty McPhee Writing equipment collection.Asmall thin red lead pencil with a china decoration on the top of a woman's head wearing a green cloche hat.domestic items, writing equipment

The Kew Historical Society has a large fashion and design collection. This copy of an original photo was given to support accurate depictions of bridal wear in the 1920s.A photographer's proof of a bride and attendants. The photograph shows a bride in a knee length dress and wearing a cloche hat to which a tulle veil is attached. wedding photography

Document. Two page Opera program advertising ''FAUST'' ''ORPHEUS'' ''LES CLOCHES de CORNEVILLE'', by the Students of the Bendigo Conservatorium, Royal Princess Theatre. Mr Alex Hamilton included in program.performing arts, elocution, opera program

Document. Pink program for Grand and Comic Opera performed by students of the Bendigo Conservatorium, Royal Princess Theatre ''La Traviata'' and ''Les Cloches de Corneville''. Mr Alex Hamilton included in program.performing arts, elocution, opera program

Document. Orange program for Grand and Comic Opera performed by Students of the Bendigo Conservatorium. Royal Princess Theatre, ''FAUST'', ''ORPHEUS'', ''Les Cloches De Corneville''. Mr Alex J. Hamilton included in program.performing arts, elocution, theatre program

Migrated to Australia with husband Robert in 1856 from Scotland. Settled in Adelaide, Melbourne then Phillip Island. Died in 1888.Portrait Photograph of Margaret Anderson nee Sharp.Cameo Head and Bust. Lace type cloche hat with wide ribbon tying under chin. White lace collar on dark velvet dress with buttons up front.Stewart & Co. Melbournelocal history, photography, photographs, slides, film, first mrs margaret (sharp) anderson, sepia photograph, mrs emma anderson jacobs, phillip island

Hat belonged to leslie Ricketson's Mother.Shallow cloche hat in deep salmon pink velvet decorated with overlapping leaves in the same fabric interspersed with toning shantung shot silk leaves in a similar colour. Leaf points designed to cluster around rim. lined with beige rayon. Hand stitchedcostume, female headwear, trades, millinery

There is no record of which family is in the photograph. The slips at Corringle was a popular picnic area for Orbost people. Corringle Slips is situated at the mouth of the Snowy River Estuary. The Corringle Slips were built by Samuel Richardson and sons during the time when the Orbost Shipping Company was operating. The Slips were washed away in the 1893 floods and reassembled by Martin Jorgensen who then became a part owner of the Slips. In the late 1890's, Corringle was a thriving rural community. (Information from Discovering Marlo brochure)This is a pictorial record of family life in Orbost in the first half of the 20th century. It portrays a typical Orbost family enjoying a leisure activity. The clothing can be seen as more formal than that worn at a family picnic in the present day,A black / white photograph of a group of people (adults and children) seated around a table set with a tablecloth on which are teacups, bottles of drink and cake. in the front is a bucket and two metal boxes. They are well-dressed with the men and boys wearing jackets and ties and some of the women wearing cloche style hats.on back - "Family at Slips"corringle-slips-marlo picnic-recreation

The children on the running board are Jocelyn and Lynette Cerini. Jocelyn is the older girl clutching a doll. The woman is likely to be their mother, Ethel Cerini. Date is approximate.Black and white photo of a family around a car with its hood up taken on a country track. The car has registration number 46063. There is a post and rail fence in the background and gum trees on both the left and right of the photo. There are 2 older men, a young man, a women in a cloche hat and 2 young girls.cars, pastimes and recreation, jocelyn cerini, jocelyn hall, lynette cerini

coloured photo: family group ? 3 adult females in cloche hats and overcoats, two small females on scenic walk. Path through bush and trees with white post and rail fence. On front board, handwritten ' Lovers Walk, Cowes' Won by Mr. L. Batchelder ( Bendigo Photographer's family ? ) ' Gents Rope Quoits/Bay View Cowes, Feb. 1933 'A.J. Murray, Ciommercial Photographer, Photo Shop, Cosesplace

Gladys Reed was a member of the Ormond Choral Society c 1950. and these clothing props were used in the plays and musicals when performed in the City of Moorabbin c1950 Drama, Musical and Choral Societies were founded by local residents in the City of Moorabbin c1950 to provide social, artistic and musical entertainment and development in their communities A theatrical prop for the Ormond Choral Society c1950 that simulates a 1920's flapper beaded evening wear cloche hat. White lace is over sewn with small pearl beads and 3 rows of shiny beading with large pearls and beading around edge of hat. Loops of small pearls hang from each side . Shown with beaded waistband MAV 00297 early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george

This photograph shows one of the many weddings held at the Mission to Seafarers over the years and provides an overview of wedding fashion of the late 1920s. The Bride is posing in the courtyard of the Mission to Seamen. The bridesmaids were Ella Kendall and Molly Walker. The Walkers and Dora had a long association with the Mission and the LHLG and in the 1960s becoming president of the Flying Angel League which amalgamated with the LHLG in the early 1960s. In 1970 Dora received an OBE. Private images of the day for the record were supplied to the Mission by sons David and Brian in 2018. The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Sea men's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."This photograph shows one of the many weddings performed at the Mission to Seafarers chapel over the years. Cross referencing with the marriage registers, also held in the collection, records that this photograph is Amy Dora Simpson (nee Dora Walker) of East Malvern marrying Harold Priestley Simpson of Surrey Hills / Mornington? on 14 February 1928.Sepia toned photograph of bride and attendants in the courtyard of the Mission to Seafarers. The bride's dress is calf length and she is standing with her veil draped in front of her, holding a large bouquet. There are two attendants to the right of the photograph, wearing layered calf length dresses and wearing cloche hats and holding small posy bouquets. The bridal group is posed standing in in the courtyard near the entrance to the MTS chapel.Small circular Blue ink stamp on rear of photograph: Printed by Harringtons stamped 2 small numerals : 3 and 8hat, flowers, veil, wedding, dress, ivy, shoes, dora walker, dora simpson, ella kendall, molly walker, amy dora walker, reverend j.r. weller, flinders street, st peter chapel, mission to seamen, seamen's mission, mission to seafarers, david simpson

Jean Stirling , born 1901 in Orbost, married Charles Frances Reginald Joyes on 15th July 1922 in Orbost. Jean's father was John Stirling, son of James Stirling and Ann Gray. Her mother was Robina Harvey McNair, Aged 19 James Stirling arrived in Melbourne on January 26, 1842 with his family - parents, three sisters and two brothers. James Stirling moved around a lot to Whittlesea, Ballarat goldfields, Cunninghame, (now Lakes Entrance), then to the Old Station about 36 miles to the east along the coast near the mouth of the Snowy River and for a time settled there with his wife also from Wigton, Scotland, and their family four sons two daughters (James, John, William, George, Margaret and Polly). The first settler to occupy the Marlo township area was James Stirling around the year 1875. He built a bark hut on the bluff that had two rooms, bark walls, earthen floors and a shingle roof. By 1884, this structure had expanded to a 9 roomed accommodation house and in 1886 became the Marlo Hotel when a liquor license was granted. (more information from “Snowy River Mail”, Wednesday, April 13th 1977: MEMORIES OF MARLO by Mrs Elsbeth Conlon (nee Stirling )This photograph is associated with the Stirling family early settlers of Marlo. It is also a pictorial record of styles of wedding dress popular in the 1920s.A black / white studio portrait / photograph of a bridal couple. The bride on the left is wearing a typical 1920s wedding dress. tTe front is short with a hem that is in different length in front than behind. She is wearing a hat in the cloche-style. She is holding a bouquet of flowers and her train is draped to the left. The groom is wearing a three piece morning suit. he has a with a wingtip collar white dress shirt and a cravat tie.on front - hand - written "Jean Stirling's wedding (Marlo) ? Joyce"stirling-jean-wedding melba-&co wedding-clothing-1920s joyes-charles-francis-reginald

The frame was hand carved by Cecil Rice and given to his aunt Mrs Marion Gargan. Cecil Rice ( 1912 - 1985) was the son of Walter Cecil Rice and Ellen Theresa Gargan.This item is a pictorial record of a 1920s wedding. Wedding dresses are a useful way to chart changing fashions. The Gargans were early settlers in the Orbost district.A small black / white wedding photograph of a seated man with a woman standing beside him. He is wearing a dark suit, white bow tie and is holding a pair of white gloves in one hand. She is wearing a dress which finishes above the ankles. She has a veil which is "cloche" style and is holding a large bunch of flowers.The photograph has a yellow frame and is mounted on gold card inside an ornately carved wooden frame.on front - Marion & Tom Gargan 1923gargan-thomas gargan-marion rice-walter wedding-photography

This photograph shows one of the many weddings held at the Mission to Seafarers over the years and provides an overview of wedding fashion of the late 1920s. The bridesmaids were Ella Kendall and Molly Walker. In this image a horse and cart can be seen in the background on Flinders St and a Telegraph pole. Dora would continue association with the Mission and as president of the Flying angels in the 1960s-70s she would be awarded the MBE for services to Community presented by the State Governor of Victoria. This photograph shows one of the many weddings performed at the Mission to Seafarers over the years. Cross referencing with the marriage registers, also held in the collection, reveals that this photograph is Amy Dora Walker (known as Dora) of East Malvern marrying Harold Priestley Simpson of Surrey Hills / Mornington on 14 February 1928. Dora's son David Simpson, a former architect still volunteers for the Mission in 2018. Dora is listed on the Women of achievement listing.Sepia toned photograph of bride and attendants in the courtyard of the Mission to Seafarers. The bride's dress is calf length and she has just stepped out of a large car assisted by her Father Mr Walker. The Bride is holding a large bouquet. There are two attendants or Bridesmaids to the right of the photograph, wearing layered calf length dresses, cloche hats and holding a small bouquet. Both are standing outside the Mission to Seamen on Flinders St waiting to assist the bride. small circular Blue ink stamp on rear of photograph: PRINTED BY HARRINGTONS. numerals stamped on the back 3 and 8 hat, flowers, veil, wedding, dress, shoes, motorcar, bridesmaids, dora walker, dora simpson, harry simpson, flinders street, 1928, david simpson, fan album, john reginald weller (1880-1969), arthur walker, molly walker, ella kendall

Advertising silk banner for a performance of 'Les Cloches de Corneville' by La Mascotte Musical Society. Performed at the Royal Princess Theatre on May 23, May 24 and May 25 1888. Cream silk banner with blue printing. Pattern printed border. Advertising Advertising - Bendigo Advertiser (Vic. : 1855 - 1918)Tuesday 22 May 1888 - Page 1 ELMORE TO GUNBOWER RAILWAY. Article - Bendigo Advertiser (Vic. : 1855 - 1918)Saturday 26 May 1888 - Page 4

The firm of Harbig was a Melbourne millinery company owned by Mr and Mrs Richard Ernest Harbig. In 1949, an article in the West Australian newspaper reported their return from the United States. It records that: 'FEATHERS SYDNEY, Sept. 14: Mr. and Mr. Richard Harbig, Melbourne milliners who reached Sydney by air tonight from America, gave these details of hat trends for next winter. Shapes: Head-hugging cloches to suit short hair, cut away at the back to clear high collars, and built up and out at the front to give height. Materals: Felts, velours, velvets, and a new long-haired fur fabric called flamond. Colours: Muted pastels, few jewel shades, and no vivid colours. Trimmings: Little veiling, "but feathers and feathers and feathers".'The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Pale green woman’s hat created by Harbig of Melbourne with a large border of flowers and leaves in shades of green. The crown of the hat is swathed with pale green silk gauze.Label: Harbig. Melbourne, New York, Parismilliners -- harbig, women's clothing -- hats, floral hats

The firm of Harbig was a Melbourne millinery company owned by Mr and Mrs Richard Ernest Harbig. In 1949, an article in the West Australian newspaper reported their return from the United States. It records that: 'FEATHERS SYDNEY, Sept. 14: Mr. and Mr. Richard Harbig, Melbourne milliners who reached Sydney by air tonight from America, gave these details of hat trends for next winter. Shapes: Head-hugging cloches to suit short hair, cut away at the back to clear high collars, and built up and out at the front to give height. Materals: Felts, velours, velvets, and a new long-haired fur fabric called flamond. Colours: Muted pastels, few jewel shades, and no vivid colours. Trimmings: Little veiling, "but feathers and feathers and feathers".'The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Rounded hat covered with ivory coloured silk, simulated flowers attached to a stiffened net. Label: Harbigmilliners -- melbourne (vic.) -- harbig, women's clothing -- hats, headwear

The date is approximate.Black and white photo of a large eucalyptus tree which appears to have had its canopy pruned. A woman in a cloche hat, identified as Mrs Mabel Carter, is leaning against it as if reading. In the background is a paling fence, beyond which is a weatherboard house and (?) a later brick house. The area between the foreground and the paling fence is roughly grassed without a footpath. About 10 feet up the trunk of the tree a wooden sign can just be distinguished. This is the street sign for Everton Grove. Norman and Mabel Carter lived at 21 Everton Grove. Norman took many photos of Surrey Hills and Mont Albert from the 1920s, in particular of events and activities of the Church of England.everton grove, trees, norman brodley carter, mrs mabel annie carter, miss mabel annie moore

A hat pin is a decorative pin for holding a hat to the head, usually by the hair that was styled in a Chignon or French Roll style and usually worn in a pair. They are typically around 20 cm in length, with the pinhead being the most decorated part. The hatpin was invented to hold veils in place, and was handmade. Birmingham, England was the centre of production when demand eventually outgrew the number that could be supplied by hand-making and they also began to be imported from France. In 1832, an American machine was invented to manufacture the pins, and they became much more affordable. During the 1880s, bonnets gave way to hats, some of which were very large and the popularity of hatpins soared. In the Victorian era, when appearance was everything, it just wouldn't do for a fashionable lady's hat to blow off in the wind. They remained a standard women's' accessory through the 1910s and were produced in a vast range of materials and types. Hat pin holder boxes were also produced. One of the most well-known makers of hatpins is silversmith Charles Horner, of Halifax, whose turn of the century jewellery company became a leader in the market by creating a series of mass-produced pins that were still of exceptional quality. As a result, thousands of Horner's pins are still on the market and on display in museums worldwide. Women of the 1920’s used hat pins as decoration on their Cloche hats that fitted snugly to their heads. The women of the pioneer families liked to dress up in their best hand made dresses and fashionable hats for Church gatherings and special occasions as a relief from the daily chores of hand washing, ironing with flat irons and cooking over open fires.2 lady's long steel hat pins with sequents in a flower design on mauve material bonnets, hats, veils, scarves, moorabbin, bentleigh, brighton, cheltenham, early settlers, pioneers, clasps, hairdressing, combs, steel pins, jewellery

B&W photo shows Cissy Johns and friend on a motorbike at Glen Park Farm, Selby. The photo shows two women in their 20s or 30s, sitting on a motorbike with the registration number 12169. The woman on the right who is most likely Cissie, is sitting astride the bike, holding the handlebars. She is possibly wearing a peaked cap. She has a long knitted jacket over a pale blouse, and a medium coloured skirt which is rucked up by the bike's petrol tank, showing her right leg from the knee down. She has dark stockings and what appear to be medium-heeled, laced shoes with a high shine. The woman on the left is sitting sideways on the pillion seat, with her arms loosely around the first woman's waist. She is wearing a cloche-style hat, a dark knitted v-necked cardigan or jumper, a light-coloured, mid-calf-length skirt, dark stockings and dark shoes with large buckles. Her legs are crossed at the ankles. Both women are smiling at the camera. The windscreen of a sidecar is visible. They are in a cleared paddock with a wire fence and trees in the background. n.d.

Series of Black and White Photos Post War Life for Hill Family & Friends. Total 8 Photos. Kath 'The Ranche' Eppalock September 1919. Kath dressed in 20's ? Dark dress, fur stole around neck, cloche hat, corrugated iron fence with wooden rail on top, garden setting. Arch, wearing white shirt waistcoat and dark trousers, gable roofed house in background, brick chimney left, tree at corner of house roof, Monte Video Queensland July 1924. Four ladies all wearing dark skirts and white blouses, all wearing broad rimmed hats, windmill tank on stand in background, tall post and wire netting, structure to the right, Kilmore October 1919. A Swan on the reservoir unknown place January 1920. lady wearing dark skirt and white blouse and hat, holding ball in left hand, right hand maybe swinging a tennis racquet ( not visible), post and rail fence in the far background. Lady sitting on stool wearing a dark skirt and white blouse, high post and wire netting fence, dark coloured horse to left, post and rail fence far right background, holding a camera bag and camera on stool beside her. Flirt the Dog, standing in doorway, door is broken and leaning to the right, shed has wide timber planks for cladding, 'The Ranche' Eppalock November 1919. Helen Mount Buffalo Tobogganing, wearing dark skirt, jacket with striped sleeves, and hat, August 1924.Hilda Hill Personal Collectionaustralia, history, post war life

This brass cow bell was recovered from the wreck of the sailing ship ‘Loch Ard’ at Mutton Bird Island, near Port Campbell, Victoria, from late 1960s to early 1970s. Cow bells were listed as part of the cargo on board the Loch Ard. This bell is now part of the John Chance collection. Flagstaff Hill Maritime Village’s divers also recovered similar bells from the Loch Ard wreck in 1973. One of them was found in a sandy hole in the centre of the wreck site. All of the recovered cow bells are without their hangers. A bell of this size could have been used by horse or cattle teams. Cow bells were a common Colonial item. They were hung around the necks of grazing domestic cows and goats, bullock and horse teams, even camel teams so that they could be found again. Sheep and cattle drovers used them as a warning for night time disturbances such as wild animals. The maker of the cow bell, James Barwell, was a bell founder established in Birmingham, England, from 1784. In 1842 he acquired Fiddian’s firm of ‘Steam and Water’, keeping its name and stamping it on some of his products. According to his advertisement in the Exhibitors guide for the Church Congress of 1887, he made bells and fittings for churches and schools. He also made bells for cloches and chimes, and made tuned musical handbells. He repaired and reproduced bells, and he had a team of experienced ringers to “inspect towers and report upon the tone and condition of bells and fittings.” In 1903 he became incorporated as a Limited Company, ‘engineers’ and plumbers’ brasswork, and bell founders.’ In 1914 he advertised as ‘Cock and Bell Founders’, specialising in plumbing and engineering fittings, church bells, and “every description of hanging and hand bells.” Some of Barwell’s products were stamped with his maker’s mark (his initials J. B. either side of a cross entwined with a ‘B’ in an oval of oak leaves (for Birmingham)). James Barwell bells were no longer made after 1920. James Barwell was among makers who exported bells to the Australian colony from the 1860s. Early Australian iron animal bells were also made from the 1860s by blacksmiths such as Anthony Morgan from 1861, August Menneke from 1867, and Samuel Jones from 1868. Few brass bells were produced here in those times. This bell is historically significant as typical of a cow bell used by farmers and herdsmen in Colonial Victoria. Its significance is increased by being an artefact recovered by John Chance, a diver from the wreck of the Loch Ard and other wrecks in the late 1960s to early 1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The cow bell is also significant for being part of Flagstaff Hill’s collection of artefacts from LOCH ARD, which 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. Cow bell; heavy brass, flat top, pyramid shape, rectangular head, shoulders flare out to rectangular mouth. The head has two same-sized tooled holes for adding the hanging yoke. Inscription on top and one side. Encrustations are on the metal in places. The hanger and clapper are missing. Made by James Barwell of Birmingham.Stamped on the head "BARWELL / - - - / - - -- ING" [Perhaps BARWELL - - - BIRMING. Could size be in centre? 3 3/4 IN?] Stamped on side [motif] (undecipherable) flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, loch ard, mutton bird island, glenample, eva carmichael, tom pearce, james barwell, cow bell, horse bell, bell founder, bell smith, vintage bell, birmingham bell foundry, farmer, shepherd, drover, stock bell