FA A milky green glass vase with a wide rim and a balloon shape near the footed base. vases, ornamental objects, functional objects, containers

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.An elaborately carved wooden framed mirror with two carved kookaburras, one with a lizard in its beak as well as some Australian flora - eucalyptus leaves, flowers and gumnuts around the edges of the frame.mirrors, functional objects, wall mirrors, objects

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A rectangular beautifully carved wooden framed mirror featuring a gold painted carved lion head at the top and gold painted crest shaped ornamentation around the edges of the frame.mirrors, functional objects, wall mirrors, objects

This hand carved framed mirror is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.An ornately hand carved rectangular wooden framed mirror with a shelf at the bottom and a carved ancient Egyptian style head in the middle of the frame at the top. There are two carved gargoyles on each top side. The mirror glass is shaped.mirrors, functional objects, wall mirrors, objects

A rectangular cut glass tray with curved long sides.trays, functional objects, objects

This magazine holder is part of a special bequest to the Mont De Lancey Museum of hand carved furniture and items made by Mr Franz Striezel by his grandaughter Mrs Dorothy Adamson. Dorothy was a friend of Nella Lord (nee Sebire). Dorothy passed away in 2007. It was to be known as The Franz Striezel Collection. Franz Streizel came from Germany in 1886 and was one of the three recognised craftsmen (Art Carvers) in Australia who contributed to the wood carvings in public buildings and honour boards throughout Australia. The National Gallery at their request had two small panels and a tobacco jar (some of his work), donated by Mrs D Adamson. They considered these pieces highly valuable.A highly decorated wooden hand carved rectangular magazine holder. The back of it is plain. functional objects, magazines, magazine holders

The padlock give a conceptual understanding of functional objects used in early Victorian goldfield gaols. Padlock with cracked blue enamel paint. Attached functional key Object #1241 Five screws on front - nine screws on back#11 in red paint. gaol, incarceration, goldfields, prisoner

Souvenir or functional object - drink coaster reproducing one of Melbourne's standard trams - the W2 class. Has heading "Melbourne Tram"Demonstrates the use of an image of a Melbourne tram on a souvenir.Drink coaster - printed in colour light weight cardboard - with an image of W2 328 on it.w2 class, tramways, tram 328, souvenir

The key as well as its associated key lock are good examples of how prisoners were restrained in Goldfield gaols.The key is significant in that it still functions with its lock considering its age. This functional key belongs to Object #1237 There are a number of engravings on the bow. Scratches and dents are evident from use. "J. HUBBALL" - "MELBOURNE" - "A" - "J" gaol, prison, prisoner

"The breeze going through the eel trap gives a feeling of water flowing through the vessel with the feathers softly waiving as the water flows. My grandfather Nicholas Couzens and my uncles made eel traps to fish the Hopkins River - this is how my mother learnt the techniques which she passed on to me."Bronwyn RAZEM Gunditjmara/Kirrae Whurrong Bronwyn Razem is an Indigenous Australian basket weaver and painter. She is a Gunditjmara woman of the Kirrae Whurrong clan of western Warrnambool on the Victorian coastline. Bronwyn’s practice involves an exploration of her Indigenous heritage and identity, and she creates symbolic representations of places and events that are meaningful to her family. She integrates ochres, sand and other materials into her paintings, and her works also draw on the possum skin cloak traditions of her ancestors. In 2008, Bronwyn was chosen by the Australia Council for the Arts to be part of a delegation of Indigenous artists to attend the 10th Pacific Arts Festival in Western Samoa. Bronwyn’s mother, Aunty Zelda Couzens, was a well-respected basket weaver and elder who taught Bronwyn basket-making techniques. Bronwyn now regularly conducts basket weaving workshops with Victorian Indigenous communities in order to facilitate the revival of cultural traditions. She has a Bachelor of Arts with Honours at Deakin University, and in 2008 she was enrolled in a Master by Research degree at Deakin Institute of Koorie Education, Geelong, and was living in Ballarat. (https://www.daao.org.au/bio/bronwyn-razem/biography/, accessed 18 April 2016) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Bronwyn RAZEM (1953- ) Gunditjmara/Kirraw Wurrong A woven New Zealand flax eel trap with emu feathers. This work won the University of Ballarat Acquisitive Award for work reflecting Victoria's Western District. The judges were impressed by Bronwyn Razem's translation of the traditional eel trap into a sculptural form evocative of the flow of water and possible the passage of time. The design and technical knowhow which Razem inherited from her mother, uncles, and grandfather connects this work to the family;s life and traditions. She then enhances the simplicity of this very functional object by the addition of delicate emu feathers, creating a work that creatively and symbolically transcends its original form. art, artwork, bronwyn razem, razem, eel trap, aboriginal, indigenous, available

Carnival glass is an inexpensive pressed glass, made as both functional and ornamental objects. Most carnival glass was made between 1907 and 1925, with production tapering off by the end 1931 during the great depression. the name "carnival glass" came about because when the demand for the glass tapered off it was often given away as prizes at carnivals.Large amber coloured glass bowl. It has four short legs moulded to the base. It is very ornate and solid. On the base is a pattern of fruit and flowers. The rim is fluted and the bowl is oval shaped. It is carnival glass.

1. Rock-art of the Western Desert and Pilbara: Pigment dates provide new perspectives on the role of art in the Australian arid zone Jo McDonald (Australian National University) and Peter Veth (Australian National University) Systematic analysis of engraved and painted art from the Western Desert and Pilbara has allowed us to develop a spatial model for discernable style provinces. Clear chains of stylistic connection can be demonstrated from the Pilbara coast to the desert interior with distinct and stylistically unique rock-art bodies. Graphic systems appear to link people over short, as well as vast, distances, and some of these style networks appear to have operated for very long periods of time. What are the social dynamics that could produce unique style provinces, as well as shared graphic vocabularies, over 1000 kilometres? Here we consider language boundaries within and between style provinces, and report on the first dates for pigment rock-art from the Australian arid zone and reflect on how these dates from the recent past help address questions of stylistic variability through space and time. 2. Painting and repainting in the west Kimberley Sue O?Connor, Anthony Barham (Australian National University) and Donny Woolagoodja (Mowanjum Community, Derby) We take a fresh look at the practice of repainting, or retouching, rockart, with particular reference to the Kimberley region of Western Australia. We discuss the practice of repainting in the context of the debate arising from the 1987 Ngarinyin Cultural Continuity Project, which involved the repainting of rock-shelters in the Gibb River region of the western Kimberley. The ?repainting debate? is reviewed here in the context of contemporary art production in west Kimberley Indigenous communities, such as Mowanjum. At Mowanjum the past two decades have witnessed an artistic explosion in the form of paintings on canvas and board that incorporate Wandjina and other images inspired by those traditionally depicted on panels in rock-shelters. Wandjina also represents the key motif around which community desires to return to Country are articulated, around which Country is curated and maintained, and through which the younger generations now engage with their traditional lands and reach out to wider international communities. We suggest that painting in the new media represents a continuation or transference of traditional practice. Stories about the travels, battles and engagements of Wandjina and other Dreaming events are now retold and experienced in the communities with reference to the paintings, an activity that is central to maintaining and reinvigorating connection between identity and place. The transposition of painting activity from sites within Country to the new ?out-of-Country? settlements represents a social counterbalance to the social dislocation that arose from separation from traditional places and forced geographic moves out-of-Country to government and mission settlements in the twentieth century. 3. Port Keats painting: Revolution and continuity Graeme K Ward (AIATSIS) and Mark Crocombe (Thamarrurr Regional Council) The role of the poet and collector of ?mythologies?, Roland Robinson, in prompting the production of commercial bark-painting at Port Keats (Wadeye), appears to have been accepted uncritically - though not usually acknowledged - by collectors and curators. Here we attempt to trace the history of painting in the Daly?Fitzmaurice region to contextualise Robinson?s contribution, and to evaluate it from both the perspective of available literature and of accounts of contemporary painters and Traditional Owners in the Port Keats area. It is possible that the intervention that Robinson might have considered revolutionary was more likely a continuation of previously well established cultural practice, the commercial development of which was both an Indigenous ?adjustment? to changing socio-cultural circumstances, and a quiet statement of maintenance of identity by strong individuals adapting and attempting to continue their cultural traditions. 4. Negotiating form in Kuninjku bark-paintings Luke Taylor (AIATSIS) Here I examine social processes involved in the manipulation of painted forms of bark-paintings among Kuninjku artists living near Maningrida in Arnhem Land. Young artists are taught to paint through apprenticeships that involve exchange of skills in producing form within extended family groups. Through apprenticeship processes we can also see how personal innovations are shared among family and become more regionally located. Lately there have been moves by senior artists to establish separate out-stations and to train their wives and daughters to paint. At a stylistic level the art now creates a greater sense of family autonomy and yet the subjects link the artists back in to much broader social networks. 5. Making art and making culture in far western New South Wales Lorraine Gibson This contribution is based on my ethnographic fieldwork. It concerns the intertwining aspects of the two concepts of art and culture and shows how Aboriginal people in Wilcannia in far western New South Wales draw on these concepts to assert and create a distinctive cultural identity for themselves. Focusing largely on the work of one particular artist, I demonstrate the ways in which culture (as this is considered) is affectively experienced and articulated as something that one ?comes into contact with? through the practice of art-making. I discuss the social and cultural role that art-making, and art talk play in considering, mediating and resolving issues to do with cultural subjectivity, authority and identity. I propose that in thinking about the content of the art and in making the art, past and present matters of interest, of difficulty and of pleasure are remembered, considered, resolved and mediated. Culture (as this is considered by Wilcannia Aboriginal people) is also made anew; it comes about through the practice of artmaking and in displaying and talking about the art work. Culture as an objectified, tangible entity is moreover writ large and made visible through art in ways that are valued by artists and other community members. The intersections between Aboriginal peoples, anthropologists, museum collections and published literature, and the network of relations between, are also shown to have interesting synergies that play themselves out in the production of art and culture. 6. Black on White: Or varying shades of grey? Indigenous Australian photo-media artists and the ?making of? Aboriginality Marianne Riphagen (Radboud University, The Netherlands) In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. 7. Culture production Rembarrnga way: Innovation and tradition in Lena Yarinkura?s and Bob Burruwal?s metal sculptures Christiane Keller (University of Westerna Australia) Contemporary Indigenous artists are challenged to produce art for sale and at the same time to protect their cultural heritage. Here I investigate how Rembarrnga sculptors extend already established sculptural practices and the role innovation plays within these developments, and I analyse how Rembarrnga artists imprint their cultural and social values on sculptures made in an essentially Western medium, that of metal-casting. The metal sculptures made by Lena Yarinkura and her husband Bob Burruwal, two prolific Rembarrnga artists from north-central Arnhem Land, can be seen as an extension of their earlier sculptural work. In the development of metal sculptures, the artists shifted their artistic practice in two ways: they transformed sculptural forms from an earlier ceremonial context and from earlier functional fibre objects. Using Fred Myers?s concept of culture production, I investigate Rembarrnga ways of culture-making. 8. 'How did we do anything without it?': Indigenous art and craft micro-enterprise use and perception of new media technology.maps, colour photographs, b&w photographswest kimberley, rock art, kuninjku, photo media, lena yarinkura, bob burruwal, new media technology

Rabbits were introduce to Australia by a settler in Geelong. Victoria. They spread widely and quickly and became a menace to farmers, graziers. Blacksmiths made various types of traps and various business were established to produce many different types of traps.typical rabbit trap made by a blacksmith in Moorabbin Shire c1930Steel rabbit trap c1930Defiance UK / C.Homes / GILPA / rabbits, vermin, early settlers, farmers, moorabbin shire, bentleigh, cheltenham, traps, ,

JAMES JOSEPH HIGGINS, was born in Dublin in 1821 and, at age twenty, emigrated via Liverpool in 1841 with his wife Ellen and baby daughter Margarete, on board the 'Intrinsic'. They lived in Little Lonsdale Street, Melbourne, for some years, where their son James John Clarke Higgins was born in 1850. JAMES JOHN CLARKE HIGGINS moved to Brighton East when he married Ruth Simmonds in 1873. The couple lived on Jasper Rd near the corner of Centre Rd for the rest of their lives, and produced eight children HERBERT JOHN HIGGINS was the sixth child born in 1886, to James John Clarke Higgins and Ruth Simmonds, and grew up in Centre Rd, Brighton East, now Bentleigh. He was renting and working a property on Jasper Rd from the time he was married in 1913 to Victoria Matilda Long, daughter of Charles John Long and Annie Matilda Allnutt. Herbert John bought his property on Jasper Rd in 1921. [Metropolitan Board of works plan 3220, Municipality of Moorabbin, shows that in 1928, Higgins Rd was planned (and probably built soon after). Herbert was a dairyman and market gardener. He bred and milked cows and sold milk, cream, butter and eggs to the locals. He supplied hay/corn to be made into chaff to J L Smith’s produce store. He also leased land from other farmers in the area and helped work their land. c1950 he sold the property in lots, some privately, others to the Municipality. Some lots became part of Hodgson Reserve, Higgins Road, Bentleigh, and another lot, the Bentleigh Bowling Club. Herbert and Victoria, known as Queenie, had five children between 1914 and 1928. The youngest Dorothy, who remembered sitting in this pram and later using it to carry papers, wood, vegetable etc., lived on the property in Jasper Road until her passing in 2016. ( Ronald Alexander Higgins, descendant , Helen Stanley CMHS 2017) The family of Dorothy Higgins 1928-2016, were early settlers in Moorabbin Shire establishing a dairy farm c 1873 in East Brighton ( now Bentleigh)Wicker Perambulator, baby carriage, c. 1914, with a lined, painted wicker body, iron spring scrolled frame with leather straps and 4 steel wheels with rubber tyres. The push handle is broken and hood is missing. dairy farms, higgins james joseph, simmonds ruth, higgins dorothy, poultry farms, jasper road bentleigh, city of moorabbin historical society 1961, sheehy t.a., newsletters, ashley r, neville f, blackman n, moorabbin city council, moorabbin roads board toll gates, pioneers moorabin cheltenham, bentleigh, highett

Ansonia Clocks were made by a clock manufacturing business which started in Ansonia, Connecticut, in 1851 and which moved to Brooklyn, New York, in 1878. An enormously successful business, it turned out thousands of clocks in a large number of styles.This Ansonia clock was owned by the pioneer family in Moorabbin Shire c1900This Ansonia clock was owned by the pioneer family in Moorabbin Shire c1900A large ANSONIA clock. c1900 with a winding key and pendulum and a hinged front glass door with clip lock ANSONIAansonia clock company, connecticut, america, phelps anson, terry theodore, andrews franklin, brighton, moorabbin, furniture, pioneers, clocks, market gardeners, early settlers

A pram used by an early settler family in Moorabbin Shire c 1900A pram used by early settlers in Moorabbin Shire c1900A brown wicker perambulator c 1900 with a long handle, long tapering seat,3 steel wheels with rubber tyresNILperambulators, baby carriages, craftworker, wicker work, early settlers, pioneers, market gardeners, bentleigh, cheltenham, moorabbin shire, ormond, mckinnon,

Surrey Park Dairy was located in 4 David Street, Hampton. It was owned by Frederick Frost from early 1940's to 1965.A waxed paper milk bottle lid for Frost's Dairy Hampton Victoria milk, dairy, hampton, surrey park dairy

2 blue canvas Australia Post bags with brass eyelets used mid 20th Century to deliver mail to householders in the City of Moorabbin . Small bag has Australia Post Stamped on it and the large bag has no markings but has white rope threaded through the brass eyeletsAustralia Post Canvas Bags donated by Judy Clark the daughter of George Reed who lived and worked in the City of Moorabbin in 20th century 2 Blue canvas bags with brass eyeletsa) AUSTRALIA POST OFFICE 869 No 5 b) no marking ; white rope australia post, post offices, mail, bentleigh, moorabbin, mckinnon, ormond, cheltenham, highett, early settlers, reed george

Made in Australia by Middy's Used by a pioneer family in Moorabbin. Manufactured by Middy's: Arriving in Australia at age 19 by ship at Port Melbourne, Dutch immigrant Petrus Cornelis Nicolaas Middendorp (1891-1963) settled in Melbourne to apply his trade as a cigar maker for the British American Tobacco Co. Retiring from the cigar industry and following his work as an honorary orderly tending WW1 Australian casualties in Paris and Melbourne, Petrus began selling Dutch manufactured light globes, vacuum cleaners and other electrical products imported from Holland and England. Warehousing and sales of the goods were undertaken from 1928 by the ‘Middendorp Goods Supply Company’ initially located in Flinders Lane in Melbourne’s CBD, then moving to McKillop Street, followed by a basement store at 148 Queen Street. During the 1940s a manufacturing plant known as ‘Middendorp and Sons’ was established in the Melbourne suburb of Preston, where Petrus’ three teenage sons Peter, Nick and Hugh joined him. Peter and Hugh worked with a small team of staff to produce rubber plug tops, extension sockets, double adaptors and a small range of bakelite accessories, whilst Nick became the first sales rep calling on customers and construction sites. The products were sold under the brand name of ‘Middy’. A name change of the distribution business took place in the late 40s and Middendorp Electric Company Pty Ltd was officially registered in 1948. The manufacturing operation ceased during the late 50s due to the introduction and acceptance of plastic and injection moulding. However, the Middendorp family had positioned itself to further establish its electrical wholesale business with the first branch and Head Office opening in 1956, located at 520 Latrobe Street, Melbourne. By 1962 there were five trading branches, growing to 25 in 1986 and 101 by 2018 Australia wide. Middendorp Electric, more commonly known as Middy’s and readily identified by its trademark colour of Middy’s pink, has developed into the largest privately owned Electrical Wholesaler in Australia. In 2015 Middy’s acquired Mekolec lifts fire and electrical adding presence and sector expertise in Melbourne’s inner south. In Sep 2018 Middy's acquired Salmon Brothers Electrical, with 5 Branches in Sydney's Metro region and in 2019 they acquired Goulburn Electrical Wholesalers greatly adding to Middy's location coverage in NSW and providing Middy’s the ability to better service NSW contractors. Bakerlite electrical fittingMiddy - Made in Australiamiddy's, moorabbin pioneers, electrical, bakerlite

The cooking pots were used by Pioneer's of the City of Moorabbin.Black cast iron cooking boiler pots with lidsA. Kenrick & Sons/9 Galls / West Bromwichcooking, moorabbin, pioneers, cast iron pots

Kettle used by a pioneer family in the City of Moorabbin.Made by T & C Clarke & Sons.Cast iron kettle T & C Kelly & Sons - Englandcooking, cast iron pot, moorabbin, pioneers

This very heavy type of iron kettle was hung on a hinged swing-arm, known as a “crane”, in the kitchen fireplace. This type of kettle, with a tap was known as a “fountain”, gave ready access to boiling water. This meant that water could be kept hot all day by the fire, and the water topped up as necessary. The metal arm was swung out from the fire -place to access the hot water relatively safely.This "fountain" was used by one of the pioneer families in the City of Moorabbin.Cast Iron Tea Kitchen, comprising a kettle, with a lid, a hook attached to swivel handle and a brass tap attached to side of kettle. T & C Clark & Co 12 Galls imprinted on lid.T & C Clark & Co

Used by a pioneer family in the City of MoorabbinPressed sheet metal frying pan with folded/tube handle, riveted onto side. Flat bottomed, with edges that slant outward.cooking, frying pan, skillet, moorabbin, kitchen

This wood traveling trunk was used by the LePage family when emigrating from Guernsey , Channel Isles, to Melbourne on SS Caliope 1852. Nicholas LePage , a tailor, and wife Elizabeth arrived in Melbourne in 1852 with their son Frank Thomas and daughter Elizabeth. Joshua Holloway released land in his 'Two Acre Village' in Cheltenham 1851. Nicholas bought a LOT for 10pounds and began a market garden that was managed by successive generations. The LePage family became involved with the Methodist Church , local friendly societies, sporting clubs and civic councils that endured. 'The LePages became one of the best known Moorabbin market gardening families, with a tradition of service to communal and civic affairs that is unmatched' John Cribbin, ' Moorabbin ,Pictorial History 1862-1994.' (City of Kingston)A handmade wood trunk with brass lock and hinges and Guernsey ( Channel Isles) Newspaper lining 1851Top of lid; White Stencil BETSEY LEPAGE / PASSENGER TO MELBOURNE Lining of box; Guernsey Newspaper 1851 henry dendy's special survey 1842, moorabbin shire, moorabbin roads board, dendy henry, were jb, holloway josiah, brighton, bentleigh, cheltenham, pioneers, market gardeners, early settlers, methodist church, two acre village cheltenham, charman stephen, bent thomas, daphne cottage, sons of temperance friendly society, mayors moorabbin council, lepage nicholas, lepage frank thomas, lepage everest, lepage frank wilbur, cheltenham co-operative society, cheltenham cream and butter factory

A handmade wood travel trunk, with internal cupboard fastened by wing clips, side brass handles, brass hinges and a central brass lock with latch for padlock Early settlers used these handmade trunks to bring their worldly goods to the new Settlements in Australia c1850A typical travel trunk used by pioneer settlers as they traveled on sailing ships from Europe to Australia c 1852A Handmade wood Travel Trunk , with internal cupboard, brass handles, lock and hinges c 1860NILpioneers, moorabbin shire, dendy's special survey 1842 brighto, dendy henry, were j.b., moorabbin roads board, market gardeners, early settlers, bent thomas, sailing ships, emigration to melbourne 1850, methodist church, henry box, holloway josiah, box willian, poultry farmers, flower farms, orchards

Melber sewing machines were first sold in Australia in the late 1870s. The 'Box Cottage' Melber Treadle Sewing Machine was owned by Mary Box, nee Kloster / Closter, wife of Alonzo Box , the nephew of William and Elizabeth Box who purchased 'Box Cottage' in 1865 from a pioneer settler The machine was bought in 1909, and is a good example of its kind. This type of sewing machine was widely used in many homes, in an era when hand-made clothes were the “norm.”, and clothes were mended, or ‘re-made’ into another garment. The cottage has both the Receipt, cat 00004.1 and Guarantee, cat 00004.2, for the sewing machine. This machine was possibly built by Wertheim Pty Ltd Hugo Wertheim (1854 – 1919) arrived in Melbourne in 1875. He became a successful agent for sewing machines manufactured by his father’s cousin Joseph Wertheim in Frankfurt, Germany. Hugo married Joseph’s daughter Sophie Emilie and they settled in Richmond Melbourne Australia. Hugo made many trips back to the main factory in Germany and, with extensive advertising, established a thriving business for sewing machines, bicycles, pianos under various ‘brand names’ - Wertheim, Electra, Planet, Griffin, Hapsburg. It has been said that Dame Nellie Melba preferred a Wertheim piano for her performances. In 1908 Hugo opened a large piano factory in Bendigo St Richmond, Victoria and his son Herbert maintained the business until 1935 The sewing machine was donated in 1985 by, a descendant of the Box family. The machine is complete, and in good condition. William and Elizabeth Box purchased 'Box Cottage' in 1865 from a pioneer settler who had bought part of the land noted in Dendy's Special Survey 1841 Brighton. They raised their family there and established a market garden to supply produce to the population of Melbourne. Their nephew Alonzo married Mary Kloster/ Closter in 1918 and she brought with her this 'Melber' sewing machine that she used to provide clothing for the family. 'Melber'Treadle Sewing Machine that was owned by Mary Box, nee Kloster/ Closter. It was bought in 1909, and it is a good example of its kind. This type of sewing machine was widely used in many homes, in an era when hand-made clothes were the “norm.”, and clothes were mended, or ‘re-made’ into another garment. The Box Cottage Museum has both the Receipt, and Guarantee for the sewing machine. 'MELBER' stamped on sewing machine.dendys special survey, treadle sewing machine, box cottage, mary kloster, alonzo box, melber, wertheim hugo, wertheim sewing machine manufacturer, richmond melbourne victoria,

Circa late 1800s. Wooden domestic butter-churn. This is a paddle churn, a barrel that contains a paddle, which is operated by a handle. The paddle churned the butter inside the container when the handle was turned. Early settlers had to be self sufficient, growing their own vegetables, making tools and clothing and usually had a house cow to produce their milk supply. An unsigned note states it was used by a Chinese market-gardener’s family. From the mid 1800s into the1900s, there were numbers of Chinese market gardeners working in Bentleigh, Moorabbin, Mc Kinnon, and Cheltenham in the Shire of Moorabbin. After the sale of land following 'Dendy's Special Survey' 1841 many Chinese settlers rented allotments and established market gardens in the area and sold their produce to the increasing population of Melbourne at the markets in St Kilda and Melbourne.Circa late 1800s. Wooden domestic butter-churn consisting of a wooden barrel with a lid and a crank that manually turned a paddle inside to separate the butter fat from the butter milk 'BUTTER CHURN' written in chalk undated, unsignedchinese, melbourne, brighton, moorabbin, butter, cows, milk, pioneers, dairy, settlers, fruit, bentleigh, markets, mckinnon, cheltenham, vegetables, dendy henry

In the 1820s perforated cardboard first became available. Then, with the invention of the printing press, designs such as sentimental or religious mottos were pre-printed on the card and a Victorian craze began as it provided a simpler and cheaper method of embroidering for the masses compared to the previously far more expensive linen embroidery. Over the following decades embroidering of punched-card grew enormously in popularity and a variety of articles from Christmas decorations to birthday cards, and in this case a Neele case to celebrate Queen Victoria's golden Jubilee in 1887. The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items used to exhibit the skill and craftsmanship of the women in these families. Small cream coloured Punched-Cardboard needle case,with red satin lining and red cross-stitch decoration. The case contains four paper packets each containing sewing needles of a different gauge. Each packet of needles is 3 1/2 cms long and 1 cm wide. The size of the needles In red cot tonCross stitch on one side of the card needle case the word "NEEDLES" is embroidered, and on the other side the word "JUBILEE". Inside the needle case is four packets of different sized needles, by Wm Mattins1887, queen victorias golden jubilee, victorian punched card work, hand embroidery, different packets, different gauge sharp needles, wm shrimpton and sons, william mattins, abel morrals, copestakes, cross stitch

A bedpan is a receptacle used for the toileting of a bedridden patient in the home or in a hospital and are usually made of a metal, glass, or plastic . A bed pan can be used for both urinary and faecal discharge. This porcelain 'New Slipper' bed pan was used early 20thC.A white china bed-pan with handle at centre back 'The New Slipper'Inside back 'The New Slipper bed pan should be passed under the patient in front between the legs. If a flannel cap is made for the blade, fastened by string to the handle, considerable comfort will be affected." on base 'F Large"toilets, invalids, cummerford family, moorabbin, bentleigh, cheltenham, early settlers, market gardeners