Ron Fisher, an early Sunbury resident, along with many other local residents and organisations have compiled this pictorial history of the area.A comprehensive visual view of the Sunbury area.A book containing 227 pages with a yellow cardboard cover with a photograph of Emu Bottom Homestead on the front. The information is conveyed through early photographs showing images of the district, household items and documents along with lists of people, who lived in the area. EMU BOTTOM HOMESTEAD/1836/ PICTORIAL HISTORY/OF/LIFE IN THNE EARLY DAYS OF/SUNBURY AND DISTRICT.local history, sunbury

The mural of the artist's image of early Sunbury was painted on the garage wall of the Sunbury Presbytery. It could be viewed from the former court house garden. The first businesses opened in Sunbury in Macedon Street between Jacksons Creek and Jackson Street. The view in the mural is looking east towards Jacksons Creek.When the railway service reached Sunbury in 1859, the business area then relocated from Macedon Street to the Evans and O'Shanassy Streets precinct. Some businesses still exist at the original Macedon Street site.A coloured scanned photograph of a mural which was painted on a brick wall.murals, early sunbury, macedon street

The photograph was taken above Reservoir Road on the lower slopes of Mt. Holden. It is looking south down Wilson's Lane towards some of the early Sunbury developments which grew around the Gap Road area in the early 1980s.A landscape coloured photograph with rounded corners. It is a panoramic view of Sunbury taken from the southern slopes of Mt. Holden. In the foreground there is a small cluster of trees and in the middle distance there is some evidence of housing development. Bald Hill can be seen on the skyline.wilson's lane, mt. holden, bald hill, sunbury, george evans collection

A photograph of two of the showcases and display boards that were used at an exhibition on early Sunbury wineries, that was mounted at the George Evans Museum from August 1996 to January 1997. On display were photographs of the early wine-makers and their vineyards as well as some equipment used in wine-making. The displays in the museum featured a variety of items relevant to the vineyard history in Sunbury in the nineteenth century A non-digital coloured photograph of two glass showcases and two display boards featuring photographs of people and buildings as well as items relevant to vineyards and wine making in an exhibition.george evans museum, vineyards, wine making, sunbury, exhibitions

The photograph was taken at one of the early Sunbury Shows. April 1900 saw the establishment of the Sunbury Horticultural Society but it was in September 1915 that the first Sunbury Show was held at the Corporation Sale Yards in the form of a horse parade and sale. In 1917 the Show was held at the Old Reserve which was adjacent to the railway precinct. Today the Sunbury Show is held in October every year at the Clarke Oval. Annual Agricultural Shows are important events in many towns throughout the country and in Sunbury, it still draws crowds.A non-digital black and white photocopied photograph of a gathering of people at an agricultural show. Some people are on horseback while others are herding some cattle and a group are unloading barrels from a horse and dray. sunbury show, agricultural shows

The photograph was taken on a rise overlooking the early settlement of Sunbury with Mount Holden and other hills across the skyline. The five arch railway bridge is visible in the distance on the RHS of the image. Two of Sunbury's early hotels, the John Franklin and the Ball Court are across the middle distance. Craiglee Vineyard with the vines growing is in the foreground. A black and white photograph with a white border.Written across the bottom: VIEW OF JACKSON CREEK SUNBURYsunbury, vineyards, jackson creek, craiglee vineyard

A paperback book of 58 pages with text and black and white photographs stapled together with a cardboard cover and a coloured reproduction of a painting by George Rowe of an early race meeting in Sunbury. non-fictionA short local history covering 140 years of European Settlement in Sunbury from 1836 to 1972. The booklet was produced by Dr. John Patterson with help from local Sunbury people.local history, sunbury, dr. john patterson

The Ball Court Hotel was built in the late 1870's by John Cahill. It remained with the Cahill family until World War 2. The Lupson family were the hoteliers for 20 years after WW2 and in 1973 the McPhersons rebuilt the interior and added air conditioning to the building. The Ball Court Hotel is the only surviving hotel from Sunbury's early settlement.A coloured photograph of the side view along Macedon Street of the Ball Court Hotel showing the public bar in the original building, the Take-away area and the bistro. There are three windows and a door in the original building. The take-away section has a shop front facade and the bistro entrance has two double glass doors. All doorways are covered with a cantilever brown and white canvas awning. A footpath and grassed nature strip is outside the building. 3 blue and white brewery signs are along the side of the building and 2 air conditioning units are on the roof.In Gothic lettering 'BALL COURT HOTEL'hotels, cahill, john, mcpherson, mr and mrs, lupson, fred, ball court hotel, george evans collection

The waterfalls were on the Jacksons Creek downstream from Sunbury township and in the vicinity of a mill which was built on the river bank. The man standing on the riverbank on the RHS of the image is near the remains of Eadie's Mill which was one of the early structures erected in Sunbury.A non-digital sepia photograph mounted on a cream board, of two waterfalls in a flooded river with bare hills on either side. A man is standing near some stone ruins on the RHS of the image.waterfalls, jacksons creek, mill falls

The four sites featured on the postcard are: Top row L-R Emu Bottom Homestead and Rupertswood Mansion. Bottom row L-R Goonawarra Vineyard and Aitkens Gap Gaol. George Evans built Emu Bottom and William Clarke was the first owner of Rupertswood. Goonwarra was one of Sunbury's early vineyards and the gaol was relocated on the police station from its original site at The Gap village on the Calder Highway.The four sites featured are important historic places in SunburyA coloured postcard featuring four historic sites in Sunbury. The word 'SUNBURY' is printed in orange across the centre of the card. Details of the four sites, the photographer and the postcard company are on the back.emu bottom, rupertswood mansion, goonawarra winery, aitkens gap gaol, george evans, william j.t. clarke

The people in the photograph were enjoying a day out at a Sunbury race meeting some time in the early 1900s. Races at Sunbury began in 1886 with the establishment of the Sunbury Racecourse that was located along Racecourse Road on a section of the Rupertswood Estate on land consisting of six furlongs and two straights. The site included a patron’s stand, saddling paddock, bookmakers’ enclosure, two bars, a committee room, judges box, stables, toilets, six entrance gates and ticket boxes. Special trains from Melbourne brought patrons and horses to the Sunbury race meetings. A report in the Melbourne Argus newspaper in 1922, stated that city taxi drivers came out to Sunbury to drive patrons to the racecourse, which was located about 3 kms from the Sunbury station. Some time however, between 1886 and 1901, there was a period when the racing club had been inactive. A meeting was called in 1901 to restore the club’s activities. With a substantial loan from Mr. Clarke the committee was able to organise the installation of a turnstile, perimeter fencing and irrigation of the course by a windmill that pumped water from a recently constructed dam that was on the estate. The club continued to function until 1942, during World War 2, and did not resume activities after the end of the war. The land was eventually sold for housing development. The Sunbury Race meetings were popular with the racing fraternity not only in the district but further afield and were deemed sufficiently important to run special trains from Melbourne to Sunbury on Race days.A non-digital sepia photograph with a strong cardboard backing of a crowd of people dressed smartly for a day out at the races. Most of the spectators are seated in a long marquee. Three men on the RHS are looking at a horse that is lying on the ground.On the back of the card there are scribbled notes and numbers which seem to indicate the photograph has been used for a publication at some time.sunbury race meetings, sunbury race course, racecourse road

Europeans arrived in the Kiewa Valley in the 1830s and 40s. Following the drought of 1838-44 seeking out the rich pastures in the fertile Kiewa Valley. . The next major increase in population was as a result of the Kiewa Hydro Scheme. The beginning of construction of the Kiewa Hydro-electric scheme in the late 1940s introduced changes and led to the enlargement and improvement of local roads and the townships of Mount Beauty and Bogong Village were constructed by the SECV from the 1930’s to the 1950’s to house workers on the Kiewa Hydro Electric Scheme. At its peak the Kiewa Scheme employed around 4000 people from all walks of life and as many cultures.The influx of European migrants to work on the Hydro Scheme along with their rich cultural backgrounds, all played a major part in establishing the history of the area and in shaping the future character of the Mount Beauty, the Kiewa Valley and Falls Creek areas. Photographs may depict descendants, family or friends of early settlers or workers in the Kiewa Valley region.1. Sepia photograph, mounted on heavy buff card with yellowing marks from sticking tape across the bottom of the photograph. Photograph is of a group of nurses taken at the Sunbury Sanitorium 2. Sepia photograph mounted on heavy buff card with yellowing marks from sticking tape at top and bottom of photo. Mark from drawing pin in centre top of photo. Photograph is of a middle aged woman posing dressed in period costume 3. Sepia photograph mounted on heavy buff card with yellowing marks from sticking tape at top and bottom of photo. Mark from drawing pin in centre top of photo. Photograph is of an older woman posing dressed in period costume sepia photos; nurses; kiewa valley; sunbury sanitorium; period costume

Restored by Tony Newstead. Played by Dr Phil Law during the 1930s, "for dances and other functions, while teaching at Clunes, Talbot, Creswick, Learmonth, Newtown, Smeaton, and while teaching at Elwood (at Eltham, Gisborne and Sunbury." including on many of his expeditions to the Antarctic. Phil Law was a dedicated jazz reed player and band leader in his early years as a country school teacher. His brothers also played. Gift of Dr Phil Law - 1999. Dr Law died in Melbourne on 28 February 2010 at the age of 97.Owned and played by Dr Phillip Garth (Phil) Law AC, CBE, for dances and other functions, while teaching during the 1930s, and on many of his 28 expeditions to the Antarctic. Metal Silver B flat soprano saxophone made by V. Kohlert and Sons, Graslitz, Czechoslovakia. Circa 1920s. Mother of pearl keys, slight denting. Additional mouth piece. On bell of saxophone "Kohlert Sons / Graslitz / Czechoslovakia" framed by flower and leaf motifdr phil law, dr phillip law, soprano saxophone, kohlert and sons, kohlert sons, antarctic explorer, b flat soprano saxophone, silver instrument, reed instrument

Captain Mackenzie Luckie was born in 1821. From 1853 he commanded eight ships. He died on board the Michael Angelo off the coast of New Zealand in February 1875. After the ship arrived in Nelson, The Argus (Melbourne) reported on 12 February 1875 that Captain Luckie was found dead in his cabin, from heart disease. His appointed Attorney Mr George William Knight selected land in Sunbury in 1860 and then arrived in Bendigo on 2 April 1870. For more information about George William Knight see https://trove.nla.gov.au/newspaper/article/227853797?searchTerm=george%20william%20knightCaptain McKenzie Luckie  a. Document appointing George William Knight of Sunbury or elsewhere in the Colony of Victoria as a lawful attorney to act for Mackenzie Luckie of 15 Tredegar Square, Bow in the County of Middlesex (now London), Master Mariner. Dated 18 February 1862. Witnessed by William Charles White. Five page document - two blue flimsy sheets, one light card sheet and two grey flimsy sheets. b. Transcript from The Age (Melbourne) 27 November 1937. The letter from H. Daniel, Monte Video, South America, is responding to an earlier letter from the grand daughter of Captain Mackenzie Luckie. It includes a record of the career of Captain Luckie from 1853. captain mackenzie luckie, master mariner

A Dray is a type of dead axle wagon that was used to transport heavy loads or objects. They had a flat level floor and while some had no sides, others had box bodies and sides. Tip Drays (also known as Tip Carts, Muck Cart, Scotch Cart, Tumbrel or Putt in different parts of England) were smaller than other drays as their loads were heavy and usually only pulled by one horse. Their basic design included two wheels, a tipping body and shafts. The Tip Dray has a unique mechanism that allows the top to tip backwards to tip the load out of the back of the dray. The tipper was activated by a handle at the front allowing the driver to operate it while still having control over the horse. A Tip Dray was an indispensable piece of equipment in the days before tractors and mechanical trucks. They were used by farmers and carters to transport hay, rocks, bricks, gravel and rubbish etc. and because they were useful for dumping loads, they were favoured for use in road and railway construction. A photo in the collection of the Lorne Historical Society shows a tipping dray being used during the construction of the Great Ocean Road. They were part of the daily street traffic in towns and cities around Australia from the early days of settlement. In Australia in the early 1900's, carters began to join unions to protect their jobs and pay. N.S.W. had a "Trolley, Draymen and Carters Union", Queensland had a "Tip Dray Men's Association" and in W. A. the "Top Dray Driver's Union" had a "cessation of work" in 1911 when they were fighting for an increase in their day's wages. In 1910 a meeting of Tip Carters was held in Geelong at the Trades Hall to discuss the formation of a union (The Geelong Tip Dray Carters) which was a success and a schedule of rates for all carting, whether by contract or day labor, was fixed. By 1912 they had "labelled" more than 50 drays and had representatives on the "Trades Hall and Eight Hours Committee". By the mid 1930's and early 1940's, tip drays were being superseded by mechanical trucks and utes. However tip drays continued to be used in some circumstances. They were a practical solution to the problem of petrol rationing during W. W. 2. It was noted in a letter to the editor in the "Sunshine Advocate" in 1938 that a positive argument for continued use of Tip Drays for rubbish collection related to the idea that a horse drawn vehicle involved with lots of stops and starts at different houses (very like a milkman's delivery route) often involved the horse "driving itself" while the driver picked up the rubbish - something a motor truck was unable to do! Another article written in August 1935 and published in the Age in a parliamentary report into the rubber industry noted "tip drays had almost disappeared and in their place, metal was carted in 5 ton motor trucks" but the report went on to say that as a part of the Government relief work (during the Great Depression) the Government had "to some extent reintroduced the tip drays so that a greater number of men would be employed". This particular tip dray was owned by Mr. Oswald (Jack) Bourke. He used it to deliver dry goods from Sunbury to the Queen Victoria Market in Melbourne several times a week in the 1930's and then (between 1945 and 1962) Mr. Bourke used it on the garbage round in Springvale Victoria for the Springvale Council. The Council owned three drays and the "No. 3" painted on this dray is in recognition of its original number. After the death of Mr. Bourke in 1990, one of Mr. Bourke's sons (Andy) found the dray in a shed and restored it. The sign writing on the back and side panels were added during the restoration. This Tipping Dray is a significant example of a horse drawn vehicle that was used by workers from the early days of white settlement through to the 1940's and even into the early 1960's. It was used in a range of "working class" occupations - road construction, railway construction, carting goods, rubbish collection etc. and would have been found in cities, country towns and on farms.A wooden and metal tipping dray with a box body and four sides. It has two iron and wooden wheels (with 14 spokes), two wooden shafts and a metal tipping mechanism. The back panel folds down to allow loads to be dumped out. It is painted in green and cream with sign writing on one of the sides and on the front and back panels. It features decorative painted lines and designs in burgundy, cream and light blue on most of the wooden parts. The tipping mechanism is on the front of the dray's left side and consists of a metal pin secured with a metal ring, and a lever.Front of dray - "No. 3" Side of dray - "A. & M. BOURKE / Contractors / LONGWARRY" Back of dray - "G.T. ANDREWS / QUEEN VICTORIA MARKET - Stand C23 / Phone DANDENONG 225"flagstaff hill maritime museum and village, warrnambool, shipwreck coast, tipping dray, dray, tip dray, tip cart, vehicles, horse drawn vehicle, springvale council, jack bourke, muck cart, scotch cart, tumbrel, putt, box body, oswald bourke, sunbury, queen victoria market, melbourne, no. 3

The early settlers of Victoria depended on horse drawn vehicles to farm, make roads and railways, deliver produce and transport people. Horse harnesses were an important requisite for all drivers and could be found wherever there were working horses. Horse Harnesses have played an essential role in different cultures throughout history. Simple, utilitarian horse harnesses made of leather straps and iron rings were being used in early China before AD 500 as well as ancient Greece and Rome allowing horses to pull chariots and ploughs. The Greeks and Romans were the first to use a "horse collar" which distributed the weight of the harness evenly across the horse's chest rather than relying on a "throat harness" that could damage a horse's throat or choke them. During the medieval period, European horse harnesses became more elaborate and decorative. Variations of different horse harnesses were also found in Native American and Middle Eastern cultures. Horse Harnesses usually have four basic components which include - 1. Communication - the bridle, bit and reins allows the driver to communicate instructions and commands to the horse, guiding its movement and direction. 2. Draft - the collar, hame straps, hames, traces and chains enables the horse to draw and pull the load efficiently by distributing the weight and transferring the pulling force to the vehicle. 3. Stopping - the breeching band, pole straps and breast strap helps to control or stabilise the horse and vehicle when moving downhill or stopping. 4. Support - the back pad, backband, belly band and back saddle keep the harness in the correct position and proper alignment. This dray harness is a plain, basic harness and reflects its working class origins. It was used by Mr. Oswald (Jack) Bourke with his horse and dray to firstly deliver drygoods from Sunbury to Melbourne in the 1930's and later (through the 1940's and 1950's up to 1961) when he worked on the garbage round for the Springvale City Council. This horse harness is a significant example of the equipment that was needed wherever horses were being used - particularly in the early years of Victoria's settlement by white settlers. Harnesses such as this example were used with drays, farming equipment, delivery carts and personal transportation.A leather and metal horse harness used with a horse and dray circa 1930's to the early 1960's. It is made up of a number of components. 1. A leather bridle with metal buckles and rings, blinkers and a metal single jointed, snaffle bit that has the initials M B stamped onto the leather. 2. A leather bridle with metal buckles and rings and a metal "straight bar" Eggbut snaffle bit. It has an elongated X design (with 4 dots) stamped onto the leather strap holders near each buckle. 3. A blue and white vinyl halter with one leather patched strap. The nose band and a chin strap are covered with woollen padding. 4. A pair of leather shaft protectors. They have lacing holes along each edge and a repeating design of small shapes (flowers, wings, crosses and arrowheads) which run along the front of each protector. 5. A leather strap with a stainless steel chain and catch and a maker's mark for "Glenn's Leather Goods, Pearcedale Victoria" stamped onto the end. 6. A wide leather strap covered with a webbing sleeve. It has two large metal rings and each end and one ring has a rope attached. 7. A leather strap comprised of three separate sections (two shorter and one longer) joined with two metal rings. The longer section has notches along its length and the shorter section at the other end has a buckle. It also had a maker's mark stamped on it but the mark is very worn and the writing is difficult to read. 8. An adjustable leather horse collar with two buckles and straps at the top opening and two "B's" stamped into the leather. The top of the collar is made from treated leather pieces stitched together and the underneath of the collar is untreated leather. It has a padded indentation running all the way around the collar for the hames to sit in. 9. Two pairs of long leather traces - each having a buckle and notched section at one end and each one is made with three lengths of leather spliced together. 10. A leather strap (with one spliced join) belonging to a horse harness with two shorter straps (each ending with a metal clip) attached to a steel D ring at one end. 11. Three assorted short leather straps - the top one has clips at each end and a buckle (for adjusting the length) in the centre, the middle strap has notches and a buckle and the bottom strap is white with notches and a buckle.Bridle with blinkers - "M B" Bridle - design showing an elongated X with a dot in each section stamped onto strap holder Shaft Protectors - stamped design of flowers, wings, crosses and arrowheads Strap with chain - "Glenn's leather goods / Pearcedale / Victoria" Leather Strap (with two metal rings) - Maker's stamp - "name indecipherable / SADDLER / ...OURNE" Collar - "B / B" Leather strap - flagstaff hill maritime museum and village, warrnambool, great ocean road, sunbury, springvale, dray, delivery dray, harness, horse harness, horse drawn vehicles, working horse, oswald (jack) bourke, bridle, horse collar, hames, shaft protectors

The fire screen was part of the original furnishings of the Lighthouse Keeper's Quarters in Merri Street, Warrnambool. It was made by Lighthouse Keeper, Thomas Hope. Thomas served two terms as an assistant lighthouse keeper in Warrnambool. His first term was from 1905 to 1907. He later returned from 1910 to 1913, when he was appointed as Keeper five months after the untimely death of his predecessor Peter Quinn. Woodworking was one of Thomas Hope’s hobbies, and the three-panel fire screen he made as a lighthouse keeper is now in the Flagstaff collection and is displayed in the Lighthouse Keeper’s Cottage. Thomas Hope 1857 - 1928 Thomas James Hope was born in Camden, Surrey, England in 1857. His father, also called Thomas, was reputed to be a member of the Royal Family, and Thomas Hope Junior his illegitimate son. Thomas was subsequently brought up on the estate of the Earl of Hopetoun in Somerset and it was thought that Thomas was the Earl’s grandson. Against the wishes of those in charge of Thomas, he joined the navy at an early age, seeing much of the world until he settled in New Zealand at the age of twenty-four. After some years in New Zealand, he came to Australia to live. One of the jobs Thomas Hope had prior to becoming an assistant lighthouse keeper in 1896 was as a cook in the Lunatic Asylum at Sunbury, Victoria. He served as an assistant keeper at Shortlands Bluff, Gabo Island, Split Point and Warrnambool, retiring in 1918. He bought a house in Nicholson St, Warrnambool and died in March 1928. He is buried in the Warrnambool cemetery. Thomas Hope is recorded in family history as being of short stature and, not surprisingly given his alleged aristocratic connections, possessed a beautiful speaking voice. He and his wife Elizabeth nee Waters, whom he married in New Zealand, had six children (Thomas, killed in World War One), Ellen (Nell), Nora (who was married at the Warrnambool lighthouse keepers cottage), William (who died in Warrnambool), Marion and Alan. Joseph Hoover (Dec 29, 1830, to Aug 7, 1913) Joseph Hoover, the printer of the pictures on the screen, was born in Baltimore, of Swiss-German heritage. He was trained as an architectural woodturner. In 1856 Hoover moved to Philadelphia and began producing elaborate wooden frames in his wood-turning and framing business. By 1865 Hoover had started to produce popular prints for publishers and artists, which included noted Philadelphia artist James F. Queen. In the 1880s Hoover set up a complete plant specialising in chromatography, the process of producing colour prints from lithographic plates. The coloured prints he produced were affordable to business and private customers. In 1893 his son Henry L., a trained lithographer, joined the company as overseer and it was called J. Hoover & Son. It became one of the largest in America by the turn of the century. Hoover won a medal for Excellence for his Chromolithographs of James Queen’s works. In 1904 Joseph’s other son, Joseph W, joined the business as a partner and the company was called Jos. Hoover & Sons. Hoover died of a heart attack in 1913. He was survived by his wife and six children: two sons who were also his business partners, and four daughters. The firm continued in production until around 1985. Hoover’s prints included scenes, still life and landscapes of America and other locations. They were sold in America and overseas to countries including Canada, Germany, Mexico and England. The three-panelled screen in the Lighthouse Keeper’s Cottage was made by the Assistant Lighthouse Keeper, Thomas Hope during one of his two terms at the Lighthouse Keepers' Quarters. It is the only object in the collection known to be connected to Hope. The Lighthouse Keeper's Cottage is part of the Lady Bay Lighthouse Complex, which is listed on the Victorian Heritage Register for being of historical, scientific (technological) and architectural significance to the State of Victoria.Fire screen comprising three black wood framed panels hinged together. Each panel contains a glass-encased print depicting a rural landscape. Ornate stencil cut wood edging and quilt-inspired parquetry sits above each panel. The central panel is taller than those either side. Screen is lined in black-painted cardboard.Printed at the base of each of the three prints “COPYRIGHT 1896 BY J. HOOVER & SON, PHILAD’’A.”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, firescreen, thomas hope junior, ellen (nell) hope, nora hope, william hope, marion hope, alan hope, jos. hoover & sons of philadelphia, lighthouse keeper, assistant lighthouse keeper, carved screen, merri street, lighthouse keeper's cottage, lighthouse residence, lighthouse, wood carving, lighthouse complex, lady bay lighthouse, fire screen

A stapled, card-covered, fifty-two page book with loose card cover.non-fictionSchool yearbook, presenting details of the events and students at Salesian College, Rupertswood, Sunbury.salesian college, rupertswood, sunbury, yearbook, "certantes in vita", 1973

Early Heritage Photographs And Hunt Clubharvester works pipeband, rupertswood, sunbury, sunshine fire station, chris curtin, jock guy, stan barkla, bill burnside, alex wilson, bill troon, the hunt club, ballarat road, deer park, sunshine, sunshine railway station, sunshine cinematic society, john "jack" horace jackson

This is a photograph of some of the buildings at the Sunbury Asylum. There are three women dressed in nurses uniforms of the early 1900s. A tramline which carried goods around the complex is visible in the image. A black and white photograph of a group of brick buildings with a view of the slate roofs, chimneys and high picket fences. Unmounted.sunbury asylum, nurses, fences, uniforms, george evans collection

An unusual square nail used for building. early 19th Century?A long square nail with a point at one end and a flat head at the other.buildings, building materials, nails, george evans collection

Compacts containing face powder and foundation in one were sold in department stores from the early 1950's. Their widespread use meant that the heavier powder compacts with face powder were less popular.A round black plastic compact with a gold design on the hinged lid. There is a gold border around the circumference and part of the paint has disappeared near the catch. In the centre there is a coronet which is surrounded with a floral design. Manufacturer's details are stuck on the back of the compact. There is a mirror inside the compact with a small powder puff.CHESEBROUGH PONDS PTY. LTD REG. USER / ANGEL / FACE / by PONDS / BRONZEcosmetics, angel face, face powder, personal effects, chesebrough ponds, george evans collection

From the early 1950's compacts containing face powder and foundation in-one were sold in department stores. Their widespread use resulted in heavier compacts and conventional face powder becoming less popular.A round blue plastic powder compact with the captions and design done in gold and blue on lid. The compact contains face powder and foundation in-one and there is a small flatened foam powder puff and information sheet inside.PONDS / ANGEL FACEchesbrough ponds, angel face, cosmetics, face powder, personal effects, george evans collection

Hair nets were used to hold unmanageable hair in place. Earlier nets were made from fine natural yarn but nylon replaced the natural fibres in latter years.2 hair nets in different shades of grey inside a small white paper bag.hair accessories, hair nets, personal effects, george evans collection

The damping bottle was filled with water and used to moisten starched clothes and linen before garments were ironed. The introduction of steam irons into households in the early 1960's resulted in damping bottles becoming superfluous.A glass 'Schweppes' bottle has yellow and black graphics on it. It has been recycled and used as a damping bottle. The metal stopper has been inserted into a cork. There are spray holes on the top of the stopper. The word 'Schweppes' has been embossed around the base of the bottom.13 FL. OZ / SCHWEPPESlaundering, ironing, starching, schweppes, domestic items, george evans collection

Slates were used in the junior grades at primary school probably from the 1900's to the early 1940's. The children wrote on the slate with a special slate pencil. A small slate framed with wood and a piece of string through a hole at the top and knotted.school, education, teaching, writing, george evans collection

This object was used to distribute free milk to primary school children during the early 1950's. This distribution of milk was a means of ensuring the children had some way of obtaining milk. Each bottle held 1/3 of a pint of milk.A small glass bottle used to hold a third of a pint of milk.on shoulder "THIRD PINT MILK..."schools, education department, george evans collection

This green cloth bound book was used as a fourth grade reader in primary schools from 1965. It was a revised edition of earlier reader.A green cloth bound book used as a fourth grade reader."Gather Round..."education department, schools, george evans collection

The cream plastic telephones replaced the black telephones of a similar design in the early 1980's. They were used throughout Australia until the mid 1990's when the wall units and touch phones were introduced.A plastic cream telephone with a dial and receiver which sits on top of the unit. The telephone unit has a fawn cord with a plug which is fitted into the wall."TELECOM AUST..."telecom, telstra, george evans collection

The blouse made from a man-made fibre which resembled linen and trimmed with crochet motifs and edging was fashionable during the early 1970's. They were often worn with batik printed skirts.A cream linen blouse with three pin tucks and a crochet band on either side of the centre front opening. There is a shell pattern crochet border around the square neckline and across the hem of the short sleeves and around the bottom of the blouse. There are two darts in the back. there are five brown buttons down the centre front."Made in the/PHILIPPINES/..."1970s, clothing and dress, george evans collection