One of a collection of Depression-era items donated by Mrs Elizabeth Angel. The cage, and another similar cage is constructed of found or recycled materials including what appear to be kerosone tinsDepression-era handmade birdcage, constructed out of painted tin and chicken wire. The cage has an overhanging piece of iron at the front for protection from the weather. It is open on three sides. bird cages

One of a collection of Depression-era items donated by Mrs Elizabeth Angel. The cage, and another similar cage, is constructed of found or recycled materials including what appear to be kerosene tinsDepression-era handmade birdcage, constructed out of painted tin and chicken wire. The cage has an overhanging piece of iron at the front for protection from the weather. It is open on three sides. bird cages

This cot cover insert was made during the 1929 depression an a time of financial hardship. It was made by Jean Hepner's Grandmother from used woollen garments. They were hand stitched on to an old woollen blanket. The quilt was used by at least five of the seven children born in to this family and also by grandchildren in later years. It was used with assorted covers which were replaced when needed.Child's cot cover insert (wagga) made from discarded woollen garments such as socks, stockings and vests and stitched in multiple layers on to a woollen blanket. It is mostly cream in colour with patches of blue and brown.quilting, history, depression era, wagga, geelong, quilting - history

Kodak Model 1A Junior folding camera that uses size 116 film. Owned by donor's mother. Jess Cameron Shannon (nee Gilbert). This was my mother's camera and took many snaps of her family in Orbost, East Gippsland, moved with her to South Yarra as a young working woman in the 1930s, then on out to Warrandyte in 1951 with her young family.Kodak Model 1A Junior folding camera. Kodak Model 1A Junior folding camera.Kodakdepression era, kodak australia, shannon, ms gael - national wool museum

Newspaper articles re depression era, including articles on household hawking, includes information re selling Harcourt apples, Goanna oil, Rawleighs; drought and depression; quartz crushing; schooling in the depression; 8.10.99 - 25.11.99. Bendigo Weekly.person, individual, jack perry, depression, hawking, goanna oil, rawleighs

The Yarra Boulevard was a major depression era public works project.Sustenance workers, Susso Drive [Yarra Boulevard], 1930s. Attached green postit: "In Herald Sun. Richmond section not Kew. Check with Richmond Historical Society.yarra boulevard, susso drive, road construction 1930s, the great depression (kew)

Interesting record of commercial gold mining activity in Buninyong in the 1930s depression era.Three gold mining share certificates, set in a wooden edged frame. Two are for Bishop's Gold (Buninyong) and one for Buninyong Rand Mines. Dated from 1936-1938. Each of the certificates were issued to different investors and signed by A. E. Llewellyn as Manager. Signed by W. Llewellyngold mining, buninyong, share certificates, gold, great depression

Toolbox, made by Salvation Army Brigadier Warren Trestrail (1895-1971), during the Great Depression from recycled kerosene tins and packing boxes. It proved to be a useful piece of furniture as the family moved around Australia during various postings within the Australian States and Territories. In World War II, Warren Trestrail embarked with the first convoy of soldiers from Australia to the Middle East and served as Salvation Army welfare officer through the Libyan campaign, at Tobruk, and in Greece. In 1942, it was announced that Salvation Army war services at Darwin would be placed under his direction. He had previously been in charge of South Australian war activities. The item was donated to the Society in 2001 by Sadie Trestrail, who had been a teacher at Kew East Primary School for many years. It is a fine example of vernacular furniture made of recycled materials .Depression-era toolbox constructed from recycled kerosene tins and parts of wooden packing boxes. The five tin drawers are made of sections of kerosene tins with handles soldered to the centre of each new drawer. A number of drawers have separators constructed of tin or aluminium. The wooden planks encasing the the drawers are covered with a degraded shellac coating. An analysis of the interior indicates that the brand names of the original parts are largely extant. furniture - recycled - depession era - 1930s, great depression - 1930s - australia, warren trestrail, salvation army, vernacular furniture

This 1930s art-deco amber frosted water jug and glasses set was a wedding present to Michael Taffe and Mary Burke of Donald in 1940 and is typical of such drink sets of the post depression era.Glass water jug and glass set of six glasses all with frosting and gilded circular decorations on flared bases.Nilglass

Chairman of the Victorian Railways, Harold Clapp, established The Victorian Railways Public Relations and Betterment Board as part of a campaign to launch the Spirit of Progress – the first new train constructed during the Depression era. Clapp was an aggressive Chairman of Railway Commissioners who was determined to keep Victorian Railways prospering. This book was a promotion book for "The Gippslander". The Gippslander name has been used for trains in the Bairnsdale corridor since 1954This book is a useful research tool.A 28 pp paper back book, titled Gippsland and its Lakes and Caves Victoria Australia. The front cover has orange and black print with yellow, green and blue motifs on a white and yellow background. The book has a stapled spine. It contains a short description of each of Gippsland's towns, a centre, double page maap of the region and many b/w photographs.railway-transport gippsland clapp-harold

Fowler's Vacola preserving jars have a rich history, beginning in 1915 with Joseph Fowler in Melbourne, Australia. Inspired by his uncle's fruit-preserving business in England, Fowler developed a method for home bottling and preserving food, which became particularly popular during the Depression era. The system relies on heating contents to a specific temperature (92°C) for a set time (one hour) to achieve a sterile and sealed product. Fowler's Vacola is still a popular method for preserving food today, and the company continues to manufacture preserving kits and accessories. Five mixed Fowler's clear glass preserving or storage jars with no lids. They have embossed Fowler's branding on them. 1 tall 'No 40' jar with a long neck. 2 'No 28' jars. 1 'Fowler's Patent Vacola No 45 Home Preserving Jar'. 1 'Fowler's Patent Vacola No 15 Home Preserving Jar'.'No 40' 'No 28' 'Fowler's Patent Vacola No 45 Home Preserving Jar' 'Fowler's Patent Vacola No 15 Home Preserving Jar'.food preserving jars, food storage containers, containers

Electric kettles were invented by the English to speed up tea preparation. In Australia fancy ceramic electric jugs quickly became a status symbol. During the Great Depression era anyone who could offer you a cuppa from a beautiful Electric Kookaburra Jug was considered to be doing well. Made by Nilsen Porcelain Australia in the 193Os, these kettles were unique for their charming art deco bird shape. Nilsen Electric Kookaburra Jugs are now regarded as a classic Australian icon prized by collectors. Oliver John Nilsen was born in Collingwood, Victoria in 1894. In 1916 he began his own electrical business, Oliver J. Nilsen & Co. (later Oliver J. Nilsen (Australia) Ltd). Nilsen's manufactured goods included such diverse products as transformers, bearings, battery chargers, bells, buzzers and gongs, porcelain ware, fuses, insulators and neon signs. Nilsen Porcelain Australia was a smaller company within the Nilsen group. Nilsen still operates as an electro-technology company operating throughout AustraliaThis jug is an excellent example of art deco ceramic appliances of the 1930s to 1950s on both a local and national level. It is also representative of products developed by a major Australian manufacturer. Earthernware ceramic jug, moulded in art deco style to represent an Australian kookaburra.vintage electric kettles, kitchen appliances, nilsen australia

In the 1990s, renowned architectural photographer Ian McKenzie OAM (1939-2014) picked up 240 glass plate negatives at a local market. Believed to be from a Victorian news archive, they dated back to the 1930s. The slides lay dormant in a dusty garage until 2020 when Ian’s wife Louise decided it was time to bring them back into the light.Digital reproductionThe McKenzie Collection of glass plate negatives unlocks glimpses of our city not seen for almost 100 years. In the 1990s, renowned architectural photographer Ian McKenzie (1939-2014) picked up 240 glass plate negatives at a local market. Believed to be from a Victorian news archive, they dated back to the 1930s. The slides lay dormant in a dusty garage until 2020 when Ian’s wife Louise decided it was time to bring them back into the light.glass plate negatives, the age newspaper, photography, melbourne, 1930-1939glass plate negatives, the age newspaper, photography, melbourne, 1930-1939

Initially named the Conservation Corps, the British Trust for Conservation Volunteers (BTCV) was founded in 1959 by the Council for Nature. Today BTCV is the “largest practical conservation charity in the United Kingdom”, and celebrated its fiftieth birthday in February 2009. Its original name had been adapted from that of the Civilian Conservation Corps launched by President Roosevelt in Depression-era USA: - "I propose to create a Civilian Conservation Corps to be used in simple work, not interfering with normal employment, and confining itself to forestry, the prevention of soil erosion, flood control and similar projects. More important, however, than the material gains, will be the moral and spiritual value of such work. Roosevelt’s idea had been revived by Governor Jerry Brown of California in 1976 and exchange of ideas and personnel between the California Conservation Corps (CCC) and other US conservation corps) has flourished since. Mark Dwyer (later to play an important role in Green Corps) was leader of the first California Conservation Corps three-month exchange program to Australia in 1988. The first ATCV exchange group to California in 1987 National Director, Tim Cox and Team Leader, David Clark (group leader, in Australian military hat) Right: Members of the first CCC exchange team to Australia at the US Embassy, Canberra in 1988: from left - Merrold, Vicci and Bobby with Mark Dwyer (centre) and David Clark (ATCV, right). Exchanges have continued annually since 1988 and, in addition to environmental work done, many friendships have been made and maintained over the years. This sleeve patch symbolises strong international links in place since ATCV/CVA was founded.This cloth sleeve patch is an example of those sewn onto the uniforms of staff and volunteers of the California Conservation Corps. It is round with an orange rim with black lettering naming ther organisation and inside the rime there is a light blue circle inset with the State flag of California. This sleeve patch is part of CVA's collection of 34 sleeve patches from many States of the USA.corps, david, conservation, mark, dwyer, california, clark, sleeve, patches

117 pp : illustrated : Appendices Chapters: Preface / Robert Baker p4. The collection / Robert Baker p5. Cartwheel penny / Robert Baker p6. Creek and old watering stage / David White p10. John Carson: Mayor 1863–4 1 / Julie King p4. Wedding dress / Suzanne McWha p18. Back to Kew 1875 / Judith Scurfield p22. Barnard’s clock / Margaret Robinson p26. Denbigh quilt / Suzanne McWha p28. Fragments of art decoration / Robert Baker p32. Mr Richardson’s sock / Felicity Renowden p36. Kew Volunteer Fire Brigade / David White p38. Kew Where We Live / Judith Scurfield p42. [MMBW} Detail Plan No. 1580 / Judith Scurfield p46. Adeney Avenue / Suzanne McWha p50. Young Workers’ Patriotic Guild / Margaret Robinson p54. Roll of Honor [Thomas Rand] / Robert Baker p56. Alice Anderson in her tourer / Felicity Renowden p60. Kew War Memorial / David White p62. Beaded dance dress / Suzanne McWha p 66. The great flood of 1934 / Desley Reid p68. Depression-era toolbox / Robert Baker p72. War Savings Street / Julie King p74. Kew Public L.ibrary / Suzanne McWha p78. Signature supper cloth / Desley Reid p82. View from the garden of Rockingham / Desley Reid p86. Cr Marie Dalley / Felicity Renowden p90. Centenary of Kew / Robert Baker p94. Doris Dickinson’s gown / Julie King p98. [Model Dairy] Milk bottles / Robert Baker p100. Kew Civic Centre / David White p102. Bicentennial tapestries / Margaret Robinson p106. Crest of the City of Kew / Desley Reid p110. Town Crier [outfit] / Desley Reid p112. Acknowledgements p114. List of works p115.non-fiction'Stories They Tell : A history of Kew through objects' explores diverse narratives from European settlement to the first decades of the twenty-first century. These stories use as their starting point artworks, texts and artefacts from the nationally significant collection of the Kew Historical Society. Limited to 100 copies.collection -- kew historical society, museum catalogues, henty family, cartwheel pennies, kew lunatic asylum, patchwork quilts, john carson, george bouchier richardson, gb richardson, coombs family, james dannock, back to kew 1875, francis barnard, denbigh family, cullis hill & co, ordsall, southesk, kew volunteer fire brigade, jfc farquhar, henry kellett, mmbw detail plan 1580, william nicholls anderson, young workers patriotic guild, roll of honor -- town of kew, alice anderson, kew war memorial, flapper dresses, fairfield bridge, chandler highway bridge, warren trestrail, furniture -- 1930s, war savings streets, kew library, children's libraries, voluntary aid detachments - kew (vic.), rockingham, james govett, centenary of kew, mayoresses -- kew (vic.), model dairy -- kew (vic.), doris dickinson, crests -- city of kew (vic.), town criers -- kew (vic.), joy stewart, australian bicentennial -- kew (vic.), kew civic centre, ak lines mcfarlane marshall, adeney avenue -- kew, wwi

Dr Michele Matthews has been a local and social historian for nearly three decades since she first used correspondence held by the then Bendigo City Council for her Honours thesis. She is an ardent advocate for the use of local history records to tell Victorian and Australian history from a grassroots perspective. Michele’s MA thesis, ‘A forgotten “Father” of Federation: Sir John Quick 1852‑1911’ (2003), and her PhD thesis, ‘Survivors, schemes, Samaritans and shareholders: the impact of the Great Depression on Bendigo and District 1925‑1935’ (2007), both drew heavily on Bendigo and district records. Michele Matthews Collection: PHD Research - Taylor Family Transcript of Audio Tape Interview This item includes the following document: 8672.91a Black and White photo of the Taylor house in Panton Street - Scanned from the transcript - Only a representation of the original photo. 8672.91b The document presents the early history of the Taylor family of Bendigo, tracing several generations from the arrival of John William Taylor in Victoria during the gold rush through to the childhood and early adulthood of Howard Johnson Taylor. Drawing heavily on oral history interviews, it describes how the family's experiences reflected the broader social and economic development of Bendigo, from the goldfields to the Depression era. Historical photographs of family members, homes and possessions accompany the narrative. The story begins around 1860, when John William Taylor emigrated from England and walked from Melbourne to Bendigo carrying his belongings. Attracted by the gold rush, he acquired a miner's right and built a timber home on Specimen Hill near Chum Street. Although he initially pursued gold, he later secured work as a pattern maker in one of Bendigo's foundries before becoming a house builder as mining declined. He married Susanna Johnson, and together they raised nine children, establishing a family whose descendants remained closely connected with Bendigo for generations. The narrative then focuses on Henry Johnson Taylor, the youngest son, and his wife Elva May Hartin, whose son Howard Johnson Taylor was born on 9 September 1912 in a weatherboard house on Specimen Hill. Howard's early childhood was marked by tragedy when his mother died in childbirth while expecting another child. The account reflects on the limitations of rural medical care at the time, suggesting that faster transport may have saved her life. Following her death, the family moved to Golden Square, and Henry later remarried May Whitcombe, who became Howard's stepmother. Howard's childhood provides an insight into everyday life in early twentieth-century Bendigo. The family experienced the influenza epidemic that followed the First World War, although Henry survived despite lasting health effects. Howard recalled living in several homes built or renovated by his father, including properties in Panton Street and later Echuca Street, Quarry Hill. The document describes domestic life in detail, including wood-fired bath heaters, heating and cooking with timber, and the pride taken in maintaining weatherboard houses. Education forms another important theme. Howard attended Specimen Hill State School, Golden Square State School, Quarry Hill State School, and later Bendigo High School. He remembered strict discipline, small class sizes in the primary years, and a strong interest in mathematics, particularly algebra and geometry. Despite enjoying school and performing well academically, the economic pressures of the Great Depression forced him to leave after obtaining his Merit Certificate so he could work alongside his father in the building trade. He later attended night classes to improve his building and bookkeeping skills. The memoir also captures changing technology and transport during Howard's youth. The family initially travelled by horse and buggy before purchasing a Chevrolet touring car in 1925, a significant financial investment at the time. Howard developed a lifelong enthusiasm for motor vehicles, learning to drive as a teenager and eventually owning numerous cars. He also briefly owned a B.S.A. motorcycle before replacing it with a Ford V8 Roadster, illustrating the rapid shift from horse-drawn transport to motor vehicles during the interwar years. Throughout the document, Howard's recollections provide valuable insight into family life, housing, education, employment, transport and community in Bendigo between the 1860s and the 1930s. Rather than simply recording genealogical facts, the narrative places the Taylor family's experiences within the broader history of Bendigo's growth from a gold mining settlement into a well-established regional city. The final pages consist of detailed footnotes referencing the original oral history recordings from which many of the quotations were drawn.bendigo, michele matthews collection, taylor transcript of audio tape interview

Photographer notations on slide: "Unloading Timber at Wharves 1933 Age B5" Published: Age (Melbourne, Vic.: 1854- ), Tuesday 15 August 1933 MAHOGANY FROM MANILA. (1933, August 15). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved January 16, 2026, from http://nla.gov.au/nla.news-article204377024 Published title: MAHOGANY FROM MANILA Published Caption: Age Tue 15 Aug 1933 Caption: Unloading Mahogany Logs brought from Manila, Philippine Islands, by the steamer Taiping, which berthed yesterday at Victoria Dock. The vessel discharged twenty logs, each weighing three tons, the first shipment of this type of timber landed in Melbourne. Research by Project Volunteer, Louise McKenzie: This photograph in many ways epitomises Melbourne in the 1930s. It is a time of enormous growth, development and change. But before delving into that, the photo itself is very powerful. The huge mahogany logs being unloaded appear to be so heavy that the ship itself seems to list to port as they are craned over the side. They are being levered into a cart to which two large and sturdy Clydesdale horses are hitched. In contrast to the traditional horses, the wharf is crisscrossed with modern railway tracks. Unloading is both mechanical and manual, and the scene is one of intense interest to a young boy bystander. The ship appears to be squat and solid, but the whole image also gives a feeling of movement and intensity. The mahogany being delivered to Melbourne would be intended for high quality furniture. In the 1930s Australia actually had a growing timber industry, but much of the eucalyptus wood was being utilised for mass produced furniture, and much of this furniture would then have had a veneer applied to it. The fact that it was economic to import this timber from the “Philippine Islands” – not a traditional trading market for Australia – reflects a Victorian economy that was strong enough to support a growing demand for good quality furniture Mahogany was described as a classic, strong hardwood, often used for dark opulent furniture. In the 1930s the importation of timber from Manila (Philippines) to Australia was a notable trade, particularly in Philippine Lauan (often referred to as Philippine Mahogany), which was used as a cheaper alternative to other hardwoods. 1930s furniture, dominated by the art deco style, used a mix of luxurious exotic woods like mahogany, macassar and ebony for high-end pieces, often veneered over less expensive woods such as walnut, birch and poplar, and with plywood, chrome and lacquer also popular for more practical, streamlined designs during the Depression era. By the mid 1930s timber mills were being relocated away from the immediate dock area, but the fact that these logs were being transported by horse-drawn cart implies that the load would not have had to be taken too far for milling. 1885 the Melbourne Harbour Trust Commissioners had decided that land in or near the city was far too valuable to be used as timber yards. Furthermore, large stacks of timber posed a fire risk. The Trust asked the Victorian Government to reserve a site on the east side of the Yarra River opposite Yarraville and Spotswood. Here, in 1889, the Trust began building six jetties and a wharf specifically for the landing of timber. Clydesdale horses were initially brought to Victoria from Tasmania in the 1830s, and with the 1850s gold rush they were imported direct from Scotland. Melbourne was from its earliest years an important centre of horse-breeding from both imported and colonial-bred stock, providing the well-built draught horse for pulling heavily loaded wagons, the harness horse for delivery work and drawing coaches, and the saddle-horse used for riding. Stud breeding facilities were advertised from the early 1840s. By the 1870s the horse export trade was thriving, and the Port of Melbourne was the country's busiest exporter of horses to Indian, Asian and New Zealand markets. Kirk's Melbourne Horse and Carriage Bazaar in Bourke Street first advertised for business in 1840, and by the 1850s Bourke Street West was famed for its horse bazaars and saleyards. The Victorian Clydesdale Horse Society reports that Clydesdale working horses were a vital part of Melbourne's infrastructure and agricultural industry in the 1930s, when they reached the peak of their popularity despite the increasing competition from mechanization. Their main roles and usage at this time were: • City Delivery: Clydesdales were a common sight for metropolitan deliveries, particularly for breweries (such as Carlton & United Breweries), milk runs, and bread deliveries. • Industrial Work: They were heavily used for hauling cargo at the docks, in construction, and at specialized sites like the Truganina Explosives Reserve, where they pulled wagons. • Agriculture: In surrounding rural areas, they were the primary power source for ploughing and agricultural machinery. • Specialization: By the 1930s, the Clydesdale was smaller and more compact than the Shire or Percheron breeds, making them ideal for navigation in urban environments. After the 1930s their numbers decreased due to the onset of WWI and mechanisation. Wartime petrol rationing led to a brief revival for the working horse, as suburban tradesmen, now used to motor delivery, took their old jinkers out of mothballs. By 1947, however, only 1.5% of city traffic was horse-drawn. In 1952 the large horse cartage company A. Kellet Pty Ltd sold its 250 horses and converted its Richmond stables to storage. In the 1950s at Station and Princes piers, wharf labourers refused to work with the six draught horses still being used to haul trolleys and which were soon superseded by the fork lift, semi-trailer and mobile crane. Where carefully trained horses had once shunted trains in city goods yards, a few hundred a week were now being killed at the abattoirs for pet and human consumption. The last MCC dray horse was withdrawn from service in 1958, but some of the few remaining working animals are used by the mounted police for crowd control at demonstrations and football games. The death knell had also sounded for the associated trades of farrier, saddler and blacksmith. Our photo, therefore, showing the wharf with both the haulage Clydesdales and the rail lines, is a strong visual summary of the social and economic changes experienced in Victoria in the 1930s and on towards the 1950s. Our photo is located at Victoria Dock (also known as Victoria Harbour) which is still an active component of Melbourne’s port system. In 1892 the West Melbourne Dock (later Victoria Dock) was opened, downstream and immediately west of the Spencer Street railway shunting yards. It contained a swing basin for ships, replacing the one which had been provided on the south side of the river, later to be the Duke and Orr dry dock, west of the Charles Grimes Bridge. Further west was the South Wharf along the river bank. The history of Victoria Dock is extremely well described by Ashley Smith in his 2 March 2022 article in Docklands News, and its accompanying aerial photo of the Dock taken in 1934. He writes: "In the early 1930s Victoria Dock was one of the biggest sites for trade and export in Melbourne. A constant queue of ships sailed in, unloaded their cargo, recharged and reloaded, then left for the next port. Around the time this photo was taken (found in a 1934 photo book), the trapezium-shaped basin had been through some changes since its construction in the 1890s. The 497-metre-long Central Pier, finished in 1919, now featured six sheds to house the ever-increasing volume of cargo. The entrance had also been widened in the 1920s to allow better access. Some of the berths featured three-ton jib electric cranes to help with loading cargo and a rail network connected to the State Railway service. By the time construction was completed, the dock was 39 hectares and hailed as the second-largest dock in the world (behind Cavendish Dock, Barrow-in-Furness). To further save costs, excavations were dug to a more reasonable seven metres below low water, instead of British engineer Sir John Coode’s recommended 8.3 metres. Even then, the costs were still around £900,000. It was envisaged, with the extra wharfage, that around thirty 90-metre ships could berth inside. On March 22, 1892, Victoria Dock was opened by Victoria’s Governor, the Earl of Hopetoun (later Australia’s first Governor-General) who opened the sluice to let the Yarra in. It took six days to fill the basin with The Leader newspaper estimating that it would take another six months to completely fill (March 26, 1892). In the end, it took nearly a year before the first ship was allowed to enter on February 20, 1893, when the steamer Hubbuck sailed in to unload 1200 tonnes of cargo in 15 hours. The Argus (February 23, 1893) reported that the ship’s captain, J. R. Brodie, called the Yarra “better than the Thames”, and compared Victoria Dock favourably to the Albert Dock (Liverpool)." This would be a good time to move our focus on to the Taiping, which is the transporter of these giant mahogany logs. The Taiping was a steel-hulled, single-screw passenger-cargo Chinese steamer, which today has the dubious legacy of being involved in a collision headlined as “The Chinese Titanic”. It was constructed by the Hong Kong and Shampoa Dock Company at its facility in Hong Kong, with completion in 1926 for service under the Australia Oriental Line. Her gross register tonnage measured 4,324 tons, reflecting her design for inter-island and coastal trade routes, accommodating both passengers and freight. She operated routes connecting Australian ports with East Asian destinations. As World War II approached, Taiping continued predominantly working the trade routes between China and Australia, until December 1941, when she evacuated women and children from Hong Kong to Manila just before Japanese forces overran the region. She then safely reached Australia despite enemy air raids. Taiping was then requisitioned by the Royal Navy and repurposed as a victualling stores issuing ship for the Eastern Fleet, supporting logistical needs in the Pacific and Indian oceans. Returned to the Australian Oriental Line in 1947, she underwent refitting and by mid-1948 was chartered to the Shanghai Shipping Company, and modified for greater passenger accommodation – approximately 500 passengers. In 1948/49 the Chinese Civil War took place. The Taiping departed Shanghai on 26 January 1949 as one of the final vessels evacuating civilians from to Keelung Harbour in Taiwan. Reports indicate that the Taiping carried double the rated capacity of passengers i.e. 1000. The ship carried families, military personnel, civilians, carrying personal belongings, gold and valuables in hope of resettlement in Nationalist Taiwan. It also held heavy cargo in the form of silver and gold bullion loaded by the Central Bank of China. Because of the risk of patrols, and to conserve fuel, the Captain took the ship away from the usual open-sea passage, and instead navigated along the coast. He also extinguished navigation lights to avoid detection. Shortly after midnight on 27 January 1949 the Taiping collided with the smaller cargo steamer Chien Yuan in the East China Sea near the Zhoushan Archipelago. The Chien Yuan was also operating in darkness. The subsequent collision was catastrophic. The Chien Yuan sank with in 5 minutes, with the loss of 72 of its 74 crew. The Taiping sustained severe structural compromise from the broadside strike and initially remained afloat, then made a swift descent into the freezing water, with no attempt at an organised evacuation. No formal recovery process was instigated, however a distress signal went out. 32 survivors were picked up by the Australian destroyer HMAS Warramunga (on patrol nearby), a passing US vessel found 2 more, and local Zhoushan fishermen retrieved others. In the end, only 37 people survived. The event is remembered as a poignant moment in the mass migration to Taiwan, with families tragically separated. A memorial to the disaster exists at the Keelung Harbour naval base on Taiwan. With its total of over 1,500 deaths, it constituted one of the worst peacetime maritime losses. It is sometimes referred to as the “Oriental Titanic” because of the similarly large loss of life and speed of demise with the RMS Titanic in 1912. A fictional depiction of this event appears in the John Woo movies “The Crossing (Part 1) (2014), and The Crossing II (2015), known in Chinese as “Taiping Wheel”. The narrative weaves a story around pre-disaster romances and wartime turmoil among passengers, culminating in the ship’s rapid sinking. “The production, a high-budget Sino-Taiwanese-Hong Kong co-effort, portrays the event as a microcosm of the 1940s Sino-Japanese and civil war legacies, though critics noted the melodramatic style prioritizing spectacle over historical precision.” In conclusion, it is nice to return to our photo, and observe the people involved in this moment. The dockworkers are, so typical of the 1930s, dressed in what looks to us like formal clothing – dark suits or coats, white shirts, and black hats. I am particularly drawn to the young boy, bare-headed, arms crossed, and so intent on the unloading process. He too is wearing a white shirt, black trousers and jacket, and black shoes. This is 1933 Melbourne – but the haircut he is sporting is now very “hipster” and modern in 2026 Melbourne. References: MAHOGANY FROM MANILA. (1933, August 15). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved January 30, 2026, from http://nla.gov.au/nla.news-article204377024 Wikipedia, Taiping steamer, https://en.wikipedia.org/wiki/Taiping_(steamer) Wikipedia, Victoria Dock, https://en.wikipedia.org/wiki/Victoria_Dock_(Melbourne) Docklands News, Ashley Smith, 2 Mar 2022, https://www.docklandsnews.com.au/victoria-dock/ Living Histories: Heritage Council of Victoria, Jill Barnard, 2008, Jetties and Piers, https://livinghistories.net.au/wp-content/uploads/2015/11/Jetties-ONL-intro_Part-1.pdf eMelbourne, Wharves and Docks, https://www.emelbourne.net.au/biogs/EM01612b.htm Australian Academy of Technological Sciences – Harvesting Wood, https://www.austehc.unimelb.edu.au/tia/225.html Old Treasury Building, On the Water – The Docks, https://tinyurl.com/3wkbk66m Old Treasury Building, On The Road, https://tinyurl.com/dw44yr3t Port of Melbourne, Victorian Places, https://www.victorianplaces.com.au/port-of-melbourne Docklands Heritage Study - Environmental History, https://mvga-prod-files.s3.ap-southeast-4.amazonaws.com/public/2024-05/docklands-heritage-review-thematic-environmental-history-1991.pdf eMelbourne, Horses, https://www.emelbourne.net.au/biogs/EM00723b.htm Victorian Clydesdale Horse Society, https://www.clydesdalesvic.org.au/history The Crossing, https://letterboxd.com/film/the-crossing-i/Photographer notations on slide: "Unloading Timber at Wharves 1933 Age B5"ships, shipping, timber industry, shipwrecks, horses, docks, wharves, 1930-1939, wars, docklands

The British Australasian Tobacco Co. (based in Melbourne and Sydney. The parent company was founded in England, circa 1902). This item "Lucky Hit" was the fore runner of the "Lucky Strike" brand name. The ready rubbed tobacco held within the tin was mainly used by those smokers who rolled their own cigarettes. These smokers would have mainly used their palm and formed a cup then placing their choice of the amount of tobacco to be rolled. This would then be placed on the fine cigarette paper and rolled and sealed (using saliva in the mouth) into the required shape. There were mechanical "roll you own" gadgets on the market but most rural users, especially males used their palms. The quantity of tobacco used to make up the cigarette was up to the individual user. The thinner that the cigarette was rolled the longer and more economical did the supply last. The by -products of this method were nicotine stained fingers and hands. "Chain" smokers were easily identified and could therefore be discriminated against obtaining smoke sensitive employment. The two world wars (1914-18 and1939-45) produced a significant rise in the consumption of cigarette use by men and the eventual overflow to women. Cigarette smoking before the 1900s was seen as rough and uncouth (socially frowned upon), however after the introduction of overseas films (U.K. and U.S.A.) and film stars presenting smoking as socially acceptable the rise of smoking cigarettes, especially roll you own (American western movies) in rural areas was an accepted way of life. Things however started to change in the mid 1900s when medical evidence pointed to the health problems of regular smokers. Governments were now implementing non smoking education material. Restrictions on where and when smoking was permitted and acceptable started to creep into all areas of society whether city or rural. This was the era that highlighted the use of roll your own cigarettes, especially when the costs of "tailor made" cigarettes were taxed at an increasing amount. Roll your own cigarettes also provided an avenue for the consumption of illicit drug use.The significance of this ready rubbed tobacco tin to this rural region is, stems from how much influence that the Western novels and overseas films (portraying rural lifestyles) played in shaping the rural social and working mores of the Kiewa Valley. The post war depression (financially) resulted in more smokers turning away from expensive machine (tailor) made cigarettes to the roll your own, using ready rubbed tobacco. This tobacco tin relays a long ago era, when personal contact, and not something that has been written down by some "unknown", was valued as the true appraisal of a member of the community. This was especially relevant in a small regional area such as the Kiewa Valley. Although social networking was not as fast then as the internet provides now, appearances, manners, fashion and etiquette with first impressions high on the order of evaluating someone in the community. Pointer such as the brand of tobacco smoked was part of the rural assessment method. Up until the demise of the Australian Tobacco Industry, circa 2004, the Kiewa Valley and surrounding district was part of a vibrant producer of tobacco leaves. The remnants of this industry still remain today but the drying sheds (for tobacco leaves) are now used to store hay for the valley's dairy and beef cattle industries. Tins 2,3 and 4 were found (in 2009) at Wallace's Hut on the Bogong High Plains. This tobacco tin is constructed from tin plated thin rolled steel. The lid is attached by two pressed and formed (from the main frame) hinges using the nip and tuck construction method. The lid and outside frame have been gold & silver anodised. Tins 2,3 and 4 have the Union Jack on the front lid. One is too rusty to read. The other two have "A blend containing choice selected Australian grown leaf" in white across the bottom on the red border and above the "2oz net weight when packed". In the centre and on the outside of the lid and surrounded by a reproduction of the "Union Jack" is stamped, "Lucky Hit Tobacco" within these words are also stamped "Ready Rubbed". The bottom of the lid is stamped (in smaller script) "2oz NET WEIGHT WHEN PACKED" and underneath this and on the rim of the lid is "THE BRITISH AUSTRALASIAN TOBACCO CO. PTY. LTD. MELBOURNE" on the inside of the lid and stamped in black print on a gold anodised lid is " NOTICE "(underlined) "Every tin of genuine "Lucky Hit has the name of the Manufacturing Company printed on wax paper lining; also on the band or wrapper with which the tin is sealed. THE BRITISH-AUSTRALIAN TOBACCO CO. PTY. LTD., MELBOURNE" and underneath this and underlined is " None genuine without the band or wrapper" On the hinge side of the lid is "LUCKY HIT READY RUBBED TOBACCO" Tins 2,3 and 4 Vary to the above inscription.roll your own, cigarette tins, smoking accessories, personal effects, tobacco containers, tobacco

The British Australasian Tobacco Co. (based in Melbourne and Sydney. The parent company was founded in England, circa 1902). This item "HAVELOCK" is one of many ready rubbed tobacco tins produced by the British Australasian Tobacco Company.The ready rubbed tobacco held within the tin was mainly used by those smokers who rolled their own cigarettes. These smokers would have mainly used their palm and formed a cup then placing their choice of the amount of tobacco to be rolled. This would then be placed on the fine cigarette paper and rolled and sealed (using saliva in the mouth) into the required shape. There were mechanical "roll you own" gadgets on the market but most rural users, especially males used their palms. The quantity of tobacco used to make up the cigarette was up to the individual user. The thinner that the cigarette was rolled the longer and more economical did the supply last. The by -products of this method were nicotine stained fingers and hands. "Chain" smokers were easily identified and could therefore be discriminated against obtaining smoke sensitive employment. The two world wars (1914-18 and1939-45) produced a significant rise in the consumption of cigarette use by men and the eventual overflow to women. Cigarette smoking before the 1900s was seen as rough and uncouth (socially frowned upon), however after the introduction of overseas films (U.K. and U.S.A.) and film stars presenting smoking as socially acceptable, the rise of smoking cigarettes, especially roll you own (American western movies) in rural areas was an accepted way of life. Things however started to change in the mid 1900s when medical evidence pointed to the health problems of regular smokers. Governments were now implementing non smoking education material. Restrictions on where and when smoking was permitted and acceptable started to creep into all areas of society whether city or rural. This was the era that highlighted the use of roll your own cigarettes, especially when the costs of "tailor made" cigarettes were taxed at an increasing amount. Roll your own cigarettes also provided an avenue for the consumption of illicit drug use.The significance of this ready rubbed tobacco tin to this rural region is, stems from how much influence that the Western novels and overseas films (portraying rural lifestyles) played in shaping the rural social and working mores of the Kiewa Valley. The post war depression (financially) resulted in more smokers turning away from expensive machine (tailor) made cigarettes to the roll your own, using ready rubbed tobacco. This tobacco tin relays a long ago era, when personal contact, and not something that has been written down by some "unknown", was valued as the true appraisal of a member of the community. This was especially relevant in a small regional area such as the Kiewa Valley. Although social networking was not as fast then as the internet provides now, appearances, manners, fashion and etiquette with first impressions high on the order of evaluating someone in the community. Pointer such as the brand of tobacco smoked was part of the rural assessment method. Up until the demise of the Australian Tobacco Industry, circa 2004, the Kiewa Valley and surrounding district was part of a vibrant producer of tobacco leaves. The remnants of this industry still remain today but the drying sheds (for tobacco leaves) are now used to store hay for the valley's dairy and beef cattle industries.This tobacco tin is constructed from tin plated thin rolled steel. The lid is attached by two pressed and formed (from the main frame) hinges using the nip and tuck construction method.The lid and outside frame have had a green "weave" pattern anodised to the metal.On the outside of the lid and at the top left is stamped, in gold coloured letters "HAVELOCK". The bottom of the lid is stamped (in smaller script) "READY RUBBED TOBACCO" and below this in smaller lettering "2oz NET WEIGHT WHEN PACKED". On the rim of the lid is "THE BRITISH AUSTRALASIAN TOBACCO CO. PTY. LTD." Inside of the lid and stamped in black print on a gold anodised lid is "Every tin of genuine HAVELOCK Ready Rubbed Tobacco has the mane Havelock printed on the paper lining, and also on the band or wrapping sealing the tin. On the hinge side of the lid is "HAVELOCK READY RUBBED"roll your own, cigarette tins, smoking accessories, personal effects, tobacco containers

The Trade Mark "Preservene" was registered on 23 June 1914 and traded in that name until 1930 when Cussons Australia Pty Ltd incorporated the name and its products including the Preservene Cloudy Ammonia. The Preservene Company produced a book (19 pages) "The Presevene Method Of Housework" in 1911. This publication was not only a self promotion but also a useful tool for the rural household and commercial enterprises.This bottle is very significant as it details the type of household cleaning methods and products used in the early 1900's up until the mid 1900's, when greater product diversities became available for rural areas. This product was a general cleaning agent that could be used for a variety of household items. It was the one product that "fits all cleaning". This attitude by the manufacturer fits into the mores held by the populous not only in cities but especially in the rural sector. This was an era where the success of a product was measured by the degree of versatility that came with it. The war years, the great depression had a lingering affect upon those who lived through them not to "waste" money on a multitude of products if one product had multiple uses. This was more so in rural areas where semi remote locations (as the case of the Kiewa Valley in the early 1900's) did not have the market place choices of city dwellers.This oblong shaped brown stained bottle has a red,green and faded white label covering 90% of the bottle. The bottle has a screw on lid. The bottle has embossed at the top back "POISON NOT TO BE TAKEN"on front label starting from top down "POISONOUS" IN SMALLER LETTERS "NOT TO BE TAKEN", below in an eclipse red backed sphere "PRESERVENE CLOUDY AMMONIA" below this in smaller print "CONTENTS 15 1/2 ozs", "For Household & Laundry use " below this "Removing stains and clearing Silverware Jewellery Etc". On a slant with green lettering on off white background, "IMPORTANT NOTICE (underlined) NO TOIL PRESERVENE ONLY BOIL(underlined) SOAP". Below within a red dotted boundary "PRODUCED BY Preservene Pty. Ltd. Melbourne Victoria". Below this and in smaller print "This preparation contains not more than 10 percent and not less than 7 percent free ammonia" Both sides of the label detail manufacturers instructions for different applications.laundry cleaners, stain removers, preservene label

Photographer notations on slide: "General View Of Lord Mayor's Dinner At Town Hall Nov 1936 B112" Published: The Age, Tuesday 10 November 1936, page 13 Published title: LORD MAYOR'S BANQUET Published caption: The brilliant scene inside the Melbourne Town Hall last night during the Lord Mayor’s banquet. Trove article identifier: http://nla.gov.au/nla.news-article205939431 Description: 700 guests (all men) are seated around numerous tables in the Melbourne Town Hall for the Lord Mayor's dinner in November 1936. Before the stage is a top table of 35 men, all dressed smartly in black dinner suits, with either a black or white bow tie. Many are wearing their medals. The Lord Mayor has on his Mayoral chains, and to his right is the Governor of Victoria, Lord Huntingfield. The stage is heavily decorated with fresh flowers. Research by project volunteer, Louise McKenzie: This image takes up one quarter of the photographic space on page 13 of The Age on 10 November 1936, reflecting the importance of the event and also the sheer dramatics of the image: 700 guests (all men), a top table of 35, and all dressed smartly in black dinner suits, with either a black or white bow tie. Many are wearing their medals. The Lord Mayor has on his Mayoral chains, and to his right is the Governor of Victoria, Lord Huntingfield. Further to his right is a man with an impressive sash across his chest. It is a very animated, and rather informal, moment. Banks of fresh flowers smother the stage, which is decorated in the manner of a terrace at an English stately home. Tables are laden with food, drink and decorations, and the wait staff (men and women) are also formally dressed, in the manner of Downton Abbey. It is spectacular, dramatic, and luxurious, and perpetuates the proud descriptor of “Marvellous Melbourne” as conferred by London Journalist George Augustus Sala when he visited the city in 1885. During its 1880s boom, Melbourne was the second-largest city in the British Empire, after London, and reputedly the richest city in the world. At times the expression was used with some irony, but "...in Victoria’s centenary year, 1934, with the city mired in another depression, a publisher bravely entitled a book of souvenir photographs Marvellous Melbourne, claiming that the subject ‘still finds apt expression in the happy one-time sobriquet’.” This photo seems to reflect an ongoing pride in Melbourne and a desire for it to live up to its descriptor and celebrate its post-centenary era in style. So it is no surprise to find that on page 11 of The Age on the same day, a second photo is to be found – a cropped view of one table – along with a very detailed description of the night, its purpose, and a surprise announcement. But, who was the Lord Mayor in whose honour the dinner was held? In 1934, the Lord Mayor of Melbourne was Cr. Alexander George Wales, (born Richmond, 11 October 1885, died Elsterwick, 31 May 1962). His father was a contractor and quarry-owner, but was blinded in an industrial accident in 1899. Consequently Alexander, then aged 14, left Brunswick State School to become a railway labourer working at a quarry, and in 1903 joined the Commonwealth public service as a clerk and began studying at night school, determined to improve himself. In 1907 he was appointed secretary of the Albion Quarrying Co. (in which the family had an interest), then its managing director and chairman. As the Australian Dictionary of Biography notes, he was instrumental in expanding the company’s interests, "...becoming director of the Hardware Co. of Australia Pty Ltd, the Twentieth Century Building and Investment Society, the Albion Sand Co. and the Geelong Brick Co.”. His public career began in 1914 when he was elected to the Brunswick council. He was mayor 1917-18, and in 1925 progressed to the Melbourne City Council where he remained for 29 years, being a member of most council committees. He served three successive terms as lord mayor (1934-37), was Chairman of the council’s decorations committee for Melbourne’s centenary, president of the Metropolitan Fire Brigades Board (1936), and Chairman of the Public Works Committee (1937-39). In 1936 he was elected to the Legislative Council with United Australia Party support, but later resigned over possible State government contract tender irregularities. Wales received "the customary reward” of a knighthood and was invested at Buckingham Palace by King George VI whose coronation he attended in 1937. He was an early director of what is now Ampol, and helped the development of the petroleum industry in Australia after visiting the USA in 1943 and 1946. He was impressed by that country’s wartime shipbuilding efforts and supported closer ties with the USA. “While president (1947-48) of the Melbourne Chamber of Commerce, Wales was a vocal critic of the Federal Labor Government, ...a staunch anti-socialist ... and a focus for conservative opposition to the Curtin and Chifley governments...” He is described as “a natural leader in business and civic politics,... a powerful force in the Melbourne City Council... opposing democratic reforms such as the creation of a Greater Melbourne Council and the abolition of plural voting, but advocat[ing] the redevelopment of city-owned property like the Eastern and Western markets...” So, this Lord Mayor’s dinner marks the third successive term in office for Governor Cr. A G Wales. The room is filled with powerful and influential men, and provided a platform for the Premier of Victoria, Albert Dunstan (1882-1950, United Country party) to announce that if the City Council would bear half the cost the State Government would build a bridge at Punt Road “at once”. He announced that the Government proposed to have the bridge built by the Country Roads Board, and allow the City Council to pay its share on convenient terms, and further, it would investigate the shared provision of more Yarra bridges. The proposal for the Punt Road Bridge was met with applause as the Yarra River constituted a serious traffic barrier. On 12 November 1936, two days after the Lord Mayor’s dinner, The Age published an article, “Building without a Plan”. It questions the appropriateness of the next Yarra bridge being the one at Punt Road, and encourages a “proper procedure” to look at the provision of additional Yarra bridges as a whole. But in fact this topic had been canvassed back in August when Melbourne City Council’s public works committee had recommended the replacement of the footbridge at Punt Road with a bridge, and if the Country Roads Board would declare this portion of Punt Road, including the river crossing, a State Highway, this could give the Board authority to construct the bridge and allocate the cost. Hence the reference at the dinner to a shared expense. Still an integral part of traffic management today, the Hoddle Bridge carries Punt Road over the Yarra River between Richmond and South Yarra in Melbourne. It is a five-lane road bridge with narrow footpaths on either side. It is of continuous reinforced concrete T-beam construction with five segmental arched spans, supported on transverse piers, and linked by concrete cross-beams. “The piers terminate in a series of tapered concrete pillars with Art Deco-styled steamlined decoration. Each pillar supports a Victorian-style lamp. The infill railings are geometric-patterned painted metal. Construction began in late 1937, and it was opened by Premier Albert Dunstan on 22 December 1938. It replaced an earlier footbridge, which in turn had replaced a punt service. The bridge (originally referred to as Punt Road Bridge) was named after Robert Hoddle, who planned central Melbourne’s Hoddle Grid, the grid of streets which form Melbourne’s central business district. Hoddle arrived in Australia from the UK in 1823 and went on to carry out surveys in NSW and Queensland before arriving in Melbourne in 1837. He designed layouts for both Melbourne and Williamstown, and later Geelong and other Victorian country areas. He was keen that major streets be at least 30 metres wide. ”With remarkable foresight he provided for wide boulevards from the city to the suburbs, but the subdivisions of early speculators in inner suburbs created the bottle-necks of today. After the separation of the colony in 1851, he became Victoria’s first surveyor-general... and advocated the provision of three-chain (60 m) roads and the widening of all existing main roads from one (20 m) to three chains." However, he was met with constant opposition and in 1853, was eased out of office. As a small and interesting aside: Hoddle was appointed auctioneer for the first sale of crown land in Melbourne on 1 June 1837. His commission was 57 pounds 12s 7d. and he bought two allotments for himself at a cost of 54 pounds. After he died his second wife married Richard Buckhurst Buxton, a member of the family which in 1860s Melbourne established the Australian property dynasty of Buxton Real Estate, Becton, MAB Corporation etc. Returning to the dinner and The Age article of 10 November 1836: Another topic of the after-dinner speeches was a reference to the upcoming Armistice Day. “The Minister of Customs (Mr White) said the proximity of Armistice day reminded us that eighteen years ago we had high hopes of prolonged peace.” The term “Armistice Day” was coined after WWI: “At 11 am on 11 November 1918, the guns on the Western Front fell silent after more than four years of continuous warfare. The Germans called for an armistice (suspension of fighting) in order to secure a peace settlement. They accepted the allied terms on unconditional surrender. Therefore on the 11th hour of the 11th day of the 11th month, a minute’s silence is observed and dedicated to those soldiers who died fighting to protect the nation. Originally known as Armistice Day, it was renamed Remembrance Day after World War Two to commemorate those who were killed in both World Wars. Today it refers to the loss of Australian lives from all wars and conflicts, accompanied by the words, "We will remember them, Lest we forget"." There was comment at the dinner about the need to remain firm in supporting the “democratic government in the British Empire to avoid a “plunge into savagery”. There was a grave responsibility on the British people to keep democracy alive, and that could not be done without adequate defence forces... Many weak governments in non-British countries had been swept aside by strong-fisted dictators, who now were the real threat to peace”. With the benefit of hindsight these were very pertinent comments and tragically prophetic. The Melbourne Shrine of Remembrance had only been dedicated two years earlier, at a ceremony attended by the Duke of Gloucester, son of King George V. Over 300,000 citizens attended: one third of the population of Melbourne. It became the location for the Anzac Day Dawn Service. Originally the march travelled from the Shrine into the city, however, in 1936, this was reversed, and the Shrine became the termination point for Anzac Day Marches. Also significant in 1936, was the installation of a statue in the west forecourt of the Shrine: “The Man with the Donkey” (aka 'Private John Simpson and his Little Donkey'). The work is said to represent the “valour and compassion of the Australian soldier”. Its full citation, according to the City of Melbourne City Collection is: West Side of Base: "The / Man with his Donkey / Gallipoli, April 25 to May 19 / in Commemoration / of the valour and compassion / of the Australian Soldier" AFTER LANDING AT GALLIPOLI, SIMPSON, WITH HIS LITTLE DONKEY, WORKED ALONE, DAY AND NIGHT TAKING WATER TO THE FRONT LINE AND CARRYING THE WOUNDED BACK TO THE DRESSING STATIONS. HE AND HIS DONKEY WERE KILLED BY A SHRAPNEL SHELL ON THE 19TH MAY, 1915. SIMPSON WAS MENTIONED IN DISPATCHES BY SIR IAN HAMILTON, COMMANDER-IN-CHIEF OF THE MEDITERRANEAN EXPEDITIONARY FORCE. / Erected by Public Subscription under auspices of the / Red Cross Society. East Side of Base: Private John Simpson." Their summary in background states: "A bronze figure of Simpson and his donkey with a wounded man on the donkey's back on a granite pedestal. Private John Simpson Kirkpatrick’s intrepid and short-lived exploits during the Gallipoli campaign have made him a popular figure of World War One. He has been mythologised to represent the lauded values of the digger, and he symbolises all those who went into battle unarmed. Born in England in 1892, he came to Australia in 1910. He enlisted to make his way back to England, but as a member of the 3rd Field Ambulance AIA was sent to Gallipoli. After just three weeks of bearing wounded soldiers across Shrapnel Gully on the back of his donkey, Simpson was killed by shrapnel fire. Simpson’s story became a powerful propaganda tool for enlistment in Australia, but following the war he was quickly forgotten. With the Shrine of Remembrance nearing completion in 1933, the memory of Simpson was rekindled to commemorate all who gave their lives to help others during the war. One plaque reads: ‘The / Man with his donkey / Gallipoli … / In commemoration / of the valour and compassion / of the Australian soldier’. In 1935, Wallace Anderson’s design for the memorial was selected though a competition organised by the Australian Red Cross. Anderson had served during the war and worked at the Australian War Memorial after his return. His Man with the Donkey was cast in Italy, and after some debate was sited near the shrine. Unveiled 20th June, 1936." The sculptor, Victorian-born William Wallace Anderson (1888-1975), served in France during WWI and afterwards produced a number of bronze war memorials and memorial portraits, predominantly in Victoria. “His most famous work is that of Simpson and his Donkey (1935), which he completed after winning a competition conducted by the Victorian Division of the Australian Red Cross. Anderson’s fee was 350 pounds; the cast, made by the Chiurazzi Foundry, Naples, Italy, cost 40 pounds. The work... has become well known as a symbol of the Anzac tradition.” A debate as to the siting of the statue arose from a strong view expressed by General Sir John Monash that no representation of individual members of the Australian Defence Force be located on the Shrine itself. Hence its location off to the northwest of the forecourt, in a garden of rosemary. And finally we return to the photo of the grand Lord Mayor’s dinner! An article in The Argus of 4 November 1936 refers to “Brilliant Scene at Lord Mayor’s Ball – Hall Becomes a Garden”. So now it becomes clear why the Town Hall, location of the Lord Mayor’s Dinner on 10 November 1934, only 6 days later, is so lavishly decorated. The floral decorations from the Ball are still in place - an early example of “recycling”, which is gratifying to note at a time of Depression. The reporter has captured the scene with enthusiasm: “Hundreds of tiny rose lights, hidden among pink roses, transformed the Melbourne Town Hall into a magical garden last night, when the Lord Mayor and Lady Mayoress (Councillor A. C. Wales, M.L.C., and Mrs. Wales) entertained about 3,500 guests at a ball. His Excellency the Governor (Lord Huntingfield) and Lady Huntingfield were present, while Rear-Admiral and Mrs. Lane Poole and officers from the visiting squadron were among the special guests. The balconies all round the hall were hidden by a white trellis, covered with pink blossoms and greenery. Rosy flowers were issued up every pillar, and great golden lamps, hanging from the door, were seated in greenery and trails of sweet peas. The organ gallery was converted into a terrace garden with stone steps leading to banks of pink azaleas, pink pelargoniums, masses of calceolarias, and the lovely deep mauve and blue of cinerarias. Slender Japanese maples and poplar trees grew from the higher slopes amid thickets of hostas, while a fascinating illusion was created by the lofty conservatory windows, which formed the background, and which were tinted cerulean blue to simulate the sky seen through glass. Large fern baskets hung from the conservatory roof, and the whole scene was enclosed in trellises of blossom. In the entrance palm green shrubs stood like sentinels round the passed floor, and flowers bloomed in misty golds. The long corridor upstairs leading to the council chamber was lined with an avenue of poplar trees in tubs. In the Lower Town Hall great banks of calceolarias and azaleas decked the upper dais, and each supper table was adorned with a different coloured flower with sprays of roses and Japanese maple laid on the snowy cloths. The adjoining supper-rooms were fragrant with the scent of huge bowls of stock in mauve, purple, and pink, while the white walls were covered with palm leaves and flowers. The roof garden below the clock tower was enclosed as a buffet with rose wreathed walls, and flowers were arranged attractively in the Lady Mayoress's rooms." References: LORD MAYOR'S BANQUET. CENTURY MAKERS AT THE M.C.G. BEFORE THE CHANGE. (1936, November 10). The Age (Melbourne, Vic. : 1854 - 1954), p. 13. Retrieved September 4, 2024, from http://nla.gov.au/nla.news-article205939431 'Portrait of Sir George Wales (Lord Mayor 1934-1937)', City Collection, City of Melbourne, https://citycollection.melbourne.vic.gov.au/portrait-of-sir-george-wales-lord-mayor-1934-37/ Graeme Davison, 'Marvellous Melbourne', eMelbourne, https://www.emelbourne.net.au/biogs/EM00906b.htm THE LORD MAYOR'S BANQUET. (1936, November 10). The Age (Melbourne, Vic. : 1854 - 1954), p. 11. Retrieved September 26, 2024, from http://nla.gov.au/nla.news-article205939643 BRILLIANT SCENE AT LORD MAYOR'S BALL Hall Becomes a Garden (1936, November 4). The Argus (Melbourne, Vic. : 1848 - 1957), p. 14. Retrieved September 26, 2024, from http://nla.gov.au/nla.news-article11932746 'Hoddle Bridge', Wikipedia, https://en.wikipedia.org/wiki/Hoddle_Bridge 'Hoddle Bridge', Victorian Heritage Database Report, Victorian Heritage Council, https://vhd.heritagecouncil.vic.gov.au/places/195689/download-report David Dunstan, 'Wales, Sir Alexander George (1885–1962)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, https://adb.anu.edu.au/biography/wales-sir-alexander-george-8951/text15737, published first in hardcopy 1990, accessed online 26 September 2024. Marjorie J. Tipping, 'Hoddle, Robert (1794–1881)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, https://adb.anu.edu.au/biography/hoddle-robert-2190/text2823, published first in hardcopy 1966, accessed online 26 September 2024. BUILDING WITHOUT A PLAN. (1936, November 12). The Age (Melbourne, Vic. : 1854 - 1954), p. 8. Retrieved September 26, 2024, from http://nla.gov.au/nla.news-article205949762 NEW BRIDGE AT PUNT ROAD (1936, August 12). The Argus (Melbourne, Vic. : 1848 - 1957), p. 10. Retrieved September 26, 2024, from http://nla.gov.au/nla.news-article11902131 'The Shrine of Remembrance', Beaconsfield’s Soldiers: https://beaconsfield.org.au/digitalmemorial/shrine-introduction/ 'Shrine of Remembrance', Wikipedia, https://en.wikipedia.org/wiki/Shrine_of_Remembrance Ken Scarlett, 'Anderson, William Wallace (1888–1975)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, https://adb.anu.edu.au/biography/anderson-william-wallace-9362/text16441, published first in hardcopy 1993, accessed online 26 September 2024. 'Man with the Donkey', City Collection, City of Melbourne, https://citycollection.melbourne.vic.gov.au/man-with-the-donkey-aka-private-john-simpson-and-his-little-donkey/ 'Remembrance Day', Australian Army, https://www.army.gov.au/about-us/history-and-research/traditions/remembrance-day Photographer notations on slide: "General View Of Lord Mayor's Dinner At Town Hall Nov 1936 B112".melbourne town hall, mayors, lord mayors, centenaries, bridges, dinners, clothing and dress, festive decorations, dances and balls, eating and drinking, shrine of remembrance, governors, monuments and memorials, 1930-1939, plants

The Wangaratta Tin Kan Band, a significant part of local folklore, was formed mainly for the purpose of raining funds for the district hospital. The original drum was a discarded carbine tin, hence the band's name Tin Kan Band. The band was formed in 1914 by Syn Emery and was active until 1935. Music was important in this era for public and social functions. The instruments played were tin whistles, mouth organs, accordions, banjos, violins, guitars, drums, wash boards and anything that would make a musical sound; they often made their own instruments such as one string fiddles. Each band member had their own distinctive costume. The band members were mostly business men and shop owners who used their talents to entertain at public functions. They organized sports meetings, dances, concerts and anything that would help the hospital financially and in the depression of the 1930's; they were the mainstay that helped keep the hospital going. Very significant in local public and social functions and a part of local folk lore.The Wangaratta Tin Kan Band, a significant part of local folklore, was formed mainly for the purpose of raising funds for the district hospital. The original drum was a discarded carbine tin, hence the band's name Tin Kan Band. The band was formed in 1914 and was active until 1935. Music was important in this era for public and social functions. The instruments played were tin whistles, mouth organs, accordions, banjos, violins, guitars, drums, wash boards and anything that would make a musical sound; they often made their own instruments such as one string fiddles. Each band member had their own distinctive costume. The band members were mostly business men and shop owners who used their talents to entertain at public functions. They organized sports meetings, dances, concerts and anything that would help the hospital financially and in the depression of the 1930's; they were the mainstay that helped keep the hospital going. tin kan band syn emery music

This apron was made by Theresa Dunn (néé Wallis) of Breakaway Creek, Victoria. Born in 1912, Theresa came from a farming family and left school at the age of 14 following the death of her mother to help care for her younger siblings. Well known for her needlework, Theresa and her sister Eileen exhibited widely and later judged work for Victorian and interstate needlework competitions. Sticklers for perfection, they were known to always look at the back of the work first. In 1935 Theresa married Allan Dunn. This apron formed part of her glory box; a collection of items saved in preparation for married life. Never used, it was donated to the Ballarat Apron Festival in 2017 by Theresa’s daughter. Made by Theresa Dunn of Breakaway Creek in the 1930s, this apron reflects early-20th century ideals of thrift and resourcefulness that were highly regarded as desirable feminine traits. By making do and adapting waste materials, such as hessian sacks and fabric scraps, into practical clothing, women could demonstrate their sewing expertise and ingenuity; highly prized qualities during times of economic depression or frugalness. Part of Theresa's glory box, this apron is in immaculate condition and is an example of depression era clothing and resourcefulness. Sugar bag apron (circa 1930s) Ballarat Apron Festival collection Until the mid-20th century concepts of thrift and resourcefulness were highly regarded as desirable feminine traits. By making do and adapting waste materials, such as hessian sacks and fabric scraps, into practical clothing, women could demonstrate their sewing expertise and ingenuity; highly prized qualities during times of economic depression or frugalness. Colonial Sugar Refining Co Ltd. Pure Cane Sugar 70lbs. Melbourne 1A

Although the caption reads'Sunbury, Victoria, Australia', the picture is not of any specific Sunbury event. Instead it typifies frequent occurrences that took place across the area from the 1850s to the early years of the nineteenth century when people travelled along roads to the goldfields during the gold rush era and later seeking work during times of economic stress.The picture has captured an era in Australia's history when people were on the move seeking their fortunes on the gold fields or seeking work during times of economic depression. A non-digital sepia photograph in post card format of five men carrying swags and their billies as they walk along an unmade road. Written along the top LH corner is 'Sunbury, Victoria, Australia'. On the back of the card in the lower RH corner is information explaining expressions relevant to the swagman traditions in Australia.swagmen, sunbury