Publicity leaflet for Berry Street Victoria Northern Services foster careLeaflet printed both sides in black on white, with colour logonon-fictionfoster care, north east foster care, berry street victoria northern services

B&w photographsindigenous health

A4 multi coloured flyer. Facade image on front and internal images of building on the back of flyer.pamphlet, leases, cultural structures and establishments, historic site, charitable organisations

This advertisement appeared in the 'Frankston Standard', page 29 on 21 November 2011. Similar advertisements were placed in other local papers to advertise the new Cornish College opening in 2012.The advertisements were intended to inform prospective families of the dates of upcoming school tours and the importance we place on sustainable education.A colour advertisement in the "Frankston Standard" full page width by 9 cm high. The College emblem and UCA symbol on the left and the four rings of sustainability on the right.campaign_to_save_cornish, advertisement, logo, rings of sustainability, motto, make a difference

Designed by Dave Clark in mid 2011 as part of his project to design all the emblems, logos, letterheads and visual branding for the College prior to it's opening. The flag of Cornish College, which flies alongside the Australian flag in front of the general office.The first flag of Cornish College, displaying our College emblem which proudly proclaims our commitment to educating students to live sustainable lives. A visual welcome to the college community and visitors as they drive into the college. A white polyester flag with the college emblem printed on it.The college emblem,a crest including our motto "MAKE A DIFFERENCE" above the words "CORNISH COLLEGE"campaign_to_save_cornish, sustainable education, college, primary school, secondary school, college emblem

Conference to empower rural women. Sponsors Victorian Farmers Federation, Agriculture Victoria, Rabo Bank, Chandler Agribusiness, Department of Infrastructure and Regional Development. What can we do to make a difference in the life of others. Digital imagesagriculture, rural women, victoria, minister for agriculture, jaala pulford, victorian farmers federation, rural women uncovered, rabo bank, agriculture victoria, chandler agribusiness

A novelty postcard with pull-out strip of 9 miniature photographs that was produced by the Valentine Publishing Co as a souvenir of Marysville.A novelty postcard with pull-out strip of 9 miniature photographs that was produced by the Valentine Publishing Co as a souvenir of Marysville.Good Luck from MARYSVILLE 1782 PRINTED PAPER MAILING NOVELTY TO OPEN RAISE FLAP From VALENTINE'S "MAIL NOVELTY" POST CARD COPYRIGHT Printed in Great Britain To "Kooringa"/ Sunday Dear Heather. JUST A LINE FROM MARYSVILLE/ TO LET YOU KNOW WE ARE OK AFTER OUR/ TRIP UP. LEFT HOME AT 8-30 THIS MORNING,/ AND AFTER LUNCH AT HEALESVILLE ARRIVED/ HERE AT 1-30. IT CERTAINLY MAKES A/ DIFFERENCE HAVING THE CAR. YOU DO/ ENJOY THE TRIP. WE HAVE A NICE BIG/ ROOM SO SHOULD BE QUITE HAPPY./ LOTS OF LOVE FROM AUNTY AND UNCLE XXXXmarysville, victoria, postcard, souvenir, valentine publishing co, crossways cabaret (image 1), taggerty river (image 2), acheron way (image 3), blacks spur (image 4), nicholl's lookout (image 5), main street marysville (image 6), sugarloaf bay eildon (image 7), steavenson falls (image 8), cumberland falls (image 9)

Carol Porter’s artwork Don’t get mad, get elected! features a woman towering over Parliament House in Canberra. Below her, tiny suit-clad politicians run screaming as she holds one of their colleagues upside-down, and another tumbles from her grasp. The look on her face is cool and determined; it is a reversal of the more common horror poster trope of ‘damsel in distress’. Porter says of the work: ‘It was tapping into the fact that women should get into power and make a difference’. Porter is a contemporary political cartoonist and poster artist who has worked out of Melbourne since the 1970s. She uses humour in her social commentary on various Australian issues and is well known for the prints she produced at RedPlanet – the alternative poster press inspired by an anti-elitist mission to reconnect art with communities. The poster was commissioned by the Victorian Women’s Trust. It first appeared on Melbourne billboards in 1997, a year after the federal election that swept John Howard to power.Donated by the artist

Hilda Charlotte Foster, 1902 - 1990, was a Double Certified Nurse when, at the age of 35, she successfully applied to the board of the Australian Inland Mission (AIM) to work at an outback field centre in South Australia. Born and raised in suburban Melbourne, she had been inspired by stories told to her by other missionaries about the fulfilment to be gained working amongst Aboriginal communities. Given her religious faith and nursing skills, she believed she could make a difference. She worked in Oodnadatta in South Australia for two years (1937-1939), followed by a stint in Innamincka in New South Wales in 1940 -1942. Before she became a nurse, Hilda Foster trained to be a Sunday School teacher and was a member of the Sunday School Council of Victoria. She completed first aid courses run through the Presbyterian Deaconesses Institute in Carlton, Victoria, and in 1930 successfully applied to become a trainee nurse at the Austin Hospital for Incurables, in Heidelberg. She commenced her training there in 1931, before moving to the Women's Hospital in 1933. In 1934 she had six months at the Fairfield Infectious Diseases Hospital, before returning to the Austin, where she was employed when she sat her final exams in November 1934. Her combined skills made her a most attractive option for the Australian Inland Mission. As well as being multi-skilled as a nurse, she provided religious instruction and spiritual ministry to members of the community. https://trove.nla.gov.au/people/762093?c=people Sister Foster nursed at Toora Bush Hospital prior to leaving for the Paton Memorial Hospital, Vila, New Hebrides in 1944. She left the New Hebrides in 1946.Matt, black and white, head and shoulders, studio portrait of Sister Hilda Charlotte Foster on card.australian inland mission, presbyterian deaconess, sister hilda charlotte foster, paton memorial hospital vila new hebrides

Photographer notations on slide: "Vic Womens Golf Ch'ship 1935 B98" Published: The Age 29 August 1935 p. 11 Published title: SIX STATE CHAMPIONS IN NATIONAL GOLF CHAMPIONSHIP. Published caption: Six State champions for the first time in the history of women’s golf are competing in the matches for the Australian title. — 1. Miss B. Sale (Tas.). 2. Miss J. Hood-Hammond (N.S.W.). 3. Miss J. Gardiner (Qld,) 4. Miss K. Rymill (S.A.). 5. Mrs. O. J. Negus (W.A.). 6. Mrs. S. Morpeth (Vic.) RESEARCHER'S NOTE: The Age listed Golfer 1 as Miss B. Sale and Golfer 4 as Miss K. Rymill. We verified that these should in fact be the other way around: 1 is Miss K. Rymill, 4 is Miss B. Sale. Trove article identifier: http://nla.gov.au/nla.news-article203982049 Description: Action shot of woman driving golf ball Research by project volunteer, Fiona Collyer: MISS KATHERINE LUCY RYMILL (1913–2008) Katherine was a champion South Australian golfer. She won the Royal Adelaide championships in 1934, 1935 and 1937. She competed in the Australian Women’s Golf Championships at Royal Melbourne in 1935 against British women golfers and was eliminated by Mrs T S McKay nee Odette Lebebvre. Katherine was from a prominent and wealthy Adelaide family and her social activities and golfing career was closely followed in the local papers. Her mother, Shylee Rymill, was the S.A. Girl Guides’ Commissioner from 1935-1950. Her father H.L. (Cargie) Rymill grew up in a Dutch Renaissance style mansion called “The Firs” in East Terrace, Adelaide (now called Rymill House and State heritage listed), and designed Kooyonga, Seaton, Grange, Glenelg and Mount Lofty golf courses. Both parents were champion golfers and have tournaments named after them. Katherine worked for the Red Cross during WWII. In 1935, for the first time in NSW, the Ladies Golf Union (L.G.V.) enforced their rule regarding the wearing of stockings in official associates’ golf matches. Though the Long Reef competitor’s long skirt and golf socks almost hid her sun-tanned legs from view, an eagle-eyed official had noticed the absence of regulation covering and she and her partner were disqualified. Commenting on the Long Reef “no stockings” controversy, Katherine said “In England, players are allowed to appear without stockings in summer and to wear “slacks” in the winter.” “Playing without stockings makes no difference to one’s performance and it is certainly cooler. However, rules which are formed must be obeyed and that seems all there is to say about it.” Katherine continued to play golf throughout her life and died in 2008. Sources: 'SIX STATE CHAMPIONS IN NATIONAL GOLF CHAMPIONSHIP', The Age, 29 August 1935, p. 11, http://nla.gov.au/nla.news-article203982049 'Stockings Or Not, for Golf?' The Mail, 12 January 1935, p. 2, http://nla.gov.au/nla.news-article58858987golf, women golfers, royal melbourne golf club

Dip pens emerged in the early 19th century, when they replaced quill pens. They were generally used prior to the development of fountain pens in the later 19th century, and are now mainly used in illustration, calligraphy, and comics. A nib pen usually consists of a metal nib with capillary channels like those of fountain pen nibs, mounted on a handle or holder, often made of wood. Other materials can be used for the holder, including bone, metal and plastic. Generally speaking, dip pens have no ink reservoir; therefore the user has to recharge the ink from an ink bowl or bottle in order to continue drawing or writing. Birmingham, England was home to many of the first dip pen manufacturers. John Mitchell pioneered mass production of steel pens in 1822; prior to that the quill pen had been the most common form of writing instrument. His brother William Mitchell later set up his own pen making business in St Paul's square. The Mitchell family is credited as being the first manufacturers to use machines to cut pen nibs, which greatly sped up the process. Germany 1842 began at the factory of Heintze & Blanckertz in Berlin By 1860 there were about 100 companies making steel nibs in Birmingham, but 12 large firms dominated the trade. Dip pens are rarely used now for regular writing, most commonly having been replaced by fountain pens, rollerball pens, or ballpoint pens. However, dip pens are still appreciated by artists, as they can make great differences between thick and thin lines, and generally write more smoothly than other types of pens. Dip pens are also preferred by calligraphers for fine writing. Richard Esterbrook was a Cornish Quaker from England who saw an opportunity in the United States to manufacture Steel Pens. In 1856 R.Esterbrook traveled to the US to set up shop as 'The Steel Pen Manufacturing Company' where Richard made these steel pens by hand using special tools and machines (mostly that Richard had to invent). In 1858 he was able to establish himself as the sole pen manufacturer in the USA and he changed the company name to 'The Esterbrook Steel Pen Mfg. Co.' The company settled down in Camden, New Jersey. Quality was a key factor in his success. His steel pens were versatile, long lasting, and came in many different styles to fit the varied writing styles of the public. Sadly, Richard Esterbrook didn't see the 'empire' his company was to become as he passed away in Atlanta on October 12th 1895 . in 1896 they started an Esterbrook branch in England to join the ranks of the other main pen manufactures in Birmingham . In 1912 the company had gotten so large that they erected a 5 story building, just to continue manufacturing pens. By 1920 the fountain pen was fast becoming more popular amongst people who were tired of 'dipping.' To meet this demand the company manufactured its first fountain pen. In 1930 the company sought less expensive means of manufacturing pens because gold and 'jewel' tips were too expensive and in this same year they began selling fountain pens in England . The Esterbrook Company began using the metal Iridium which they called 'Durachrome.' To meet the fountain pen demand the company reformed as 'The Esterbrook Hazel Pens Ltd.' In 1940 war had come to strike a blow at the Esterbrook company. On November 19th 1940 their England location was hit by an incendiary bomb destroying half of the location! To make matters worse, when putting out the fire using a human water bucket chain, someone accidentally grabbed a bucket of paraffin and set the place further ablaze. Oddly enough, the company was able to rebuild the structure during the war. However, the government had placed a stipulation that 50% of its capacity was to be used for government related purposes. In 1947 the company bought out John Mitchell and the American branch had already acquired Hazel Pen Co. The company re-formed again as 'The Esterbrook Pen Company.' This is the last company name the dip pen nibs were manufactured under. A box of Steel dipping nibs for writing pensOn Box; Photo of man / R. Esternbrook Co. / PENS / PROBATEsteel nibs, writing pens, education, schools, writing, caligraphy, artists, moorabbin, bentleigh, cheltenham, dip pens, inkwells, fountain pens, mitchell john, birmingham england, esternbrook richard, maple barbara

Mrs T S McKay, née Odette Lefebvre “Killara Amazon who drives like a man, smiles like a school girl and dresses like a picture” – Smiths Weekly 22 July 1933 In 1934, the Ladies Golf Union of NSW introduced a rule forbidding women not wearing stockings from competing in games under their control. Rather than wear stockings, Odette Lefebvre (1910-1991) withdrew from her team causing a media stir. She subsequently agreed to wear stockings for any NSW game she wished to play in. She said that a player had every right to dress as she wished, providing it did not offend modesty. She found it more comfortable to play without stockings. Photographer notations on slide: "Golf Ch'ship Mrs McKay B98" . Description: Female golfer teeing off with 3 wood, wearing beret, cardigan, straight skirt, ankle socks, sensible shoes. Blurred spectators are visible in the background. . Research by project volunteer, Fiona Collyer: Mrs T S McKay, née Odette Lefebvre (1910-1991), was a NSW champion golfer. She won the NSW Women’s Championship 1931, 1933. Odette competed in the Australian Women’s Golf Championship at Royal Melbourne against the British Women’s Team in 1935. She was defeated by Mrs Sloan Morpeth nee Susie Tolhurst in the semifinals. . A tall, willowy, beautiful brunette with a winning smile and sparkly blue eyes and exotically of French origin, the press reported the outdoor sports loving young woman’s social and golf activities closely. . In 1933 (27/7/1933), the Smith’s Weekly headline ran “Drives like a man but is a real girl – always”. The article called her the “Killara Amazon who drives like a man, smiles like a school girl and dresses like a picture”. . In 1934, the Ladies Golf Union of NSW introduced a rule forbidding women without stockings to compete in games within their control. Rather than wear stockings, Odette withdrew from her team, causing a media stir. She subsequently agreed to wear stockings for any game she was keen to play in. She said that a player had every right to dress as she wished, providing it did not offend modesty. She found it more comfortable to play without stockings. . Fellow women golfers were sympathetic to the non-stocking brigade. Mrs J J Hollywood, president of the Maitland Golf Club Associates said, “What a storm in a teacup over nothing! As if a pair of stockings could possibly make all the difference to a person’s game. However, I think the mosquitoes settle that question for the L.G.V. in the North”, she added with a laugh. (Newcastle Sun 5/5/1934) . Acting president of the Victorian Women’s Golf Union, Mrs J B Bellair, said, “It is much warmer in Sydney than here and must be more comfortable without stockings. Miss Lefebvre too, has such beautiful legs and they are so brown, that she can afford to dispense with stockings. Women in Victoria are not likely to play without stockings, however, it is much too cold here. I have never seen any of them on the links in bare legs.” (Newcastle Sun 5/5/1934) . Mrs L Griffiths, president of the Steelworks Associate Club in Newcastle said, “It appears to be an unnecessary rule that the L.G.V. has enforced. Why, if they started laying down laws like that, where would we end? What about ties etc being compulsory for men?” (Newcastle Sun 5/5/1934) . The L.G.V. insisted that the dignity of the game should not be impaired by players who dared to show any originality in clothes, even if they did add comfort. (The Sun, Sydney 5/5/1934) . Even in 1941, despite wartime shortages, the L.G.V. NSW was insisting that – “no player may play in open L.G.V. competitions without stockings.” (Yass Tribune-Courier 6/11/1941) . In 1934, Odette married champion golfer and barrister Thomas McKay who later became a NSW Liberal Party politician. They had two children before divorcing in 1946.golf, women golfers, royal melbourne golf club

Jane Shillinglaw was born 14 Jun 1846. She had a a son, Joseph Shillinglaw in 1863 and a daughter Jane Davidson in 1870 prior to her marriage to William James Sommerville in 1887. Jane's younger sister Catherine Shillinglaw was born 13 Nov 1852 at Coburg, Victoria. She married Edward Henry Bottle in 1897 This photo shows fashion and hairstyles typical of the later 1870s. Photographer Stewart & Co operated from various addresses in Bourke Street East Melbourne from 1874 through 1905. The photo is estimated to have been taken c.1878 which would make Jane 32 years of age and Catherine 26 years. There is another photo of who is believed to be Catherine Shillinglaw with Edward Henry Bottle. There are visual differences with the eyes so it is presumed this photo is of Jane. A duplicate photo is contained in Album 2 (05664) Stewart & Co operated from 217 Bourke St., East from 1871 to 1876 and from 217-219 from 1877 to 1889. Other locations included 42, 284 and 286. Overall, they operated in Melbourne from 1871 through at least 1910 though Carte-de-Visite photos were superseded by 1890. CARTE-DE-VISITE (cdv) 1857-1890 Cartes-de-visite (cdv's) are the most common form of photograph from the nineteenth century, generally measuring two and a half inches by four and an eighth inches (6.3 x 10.5 cm) when mounted, sepia toned, mounted on a card which was generally printed with the photographer's name and address on the back or beneath the portrait. - Frost, Lenore; Dating Family Photos 1850-1920; Valiant Press Pty. Ltd., Berwick, Victoria 1991marg ball collection, shillinglaw family photo album 1, 1871-1890, 1878, jane shillinglaw (1846-1893), jane sommerville (nee shillinglaw 1846-1893), shillinglaw family photo album 2, stewart & co photographers melbourne, unknown

The two cards of nibs are retail display cards of the dip pen nibs that William Mitchell Calligraphy produced, dating back to around the 1920’s, which was the time of the Great Exhibition in the UK. At that time dip pens with steel nibs were the main writing instruments. British Pens Ltd. had recently formed as a company and its subsidiaries included the the company William Mitchell, which is why British Pens Ltd. is named on the cards as well. One card (1) has the Round Hand nib, which is widely used today for calligraphy scripts. The other card (2) has the Script nib that has round upturned points for monocline or unshaded lettering that is also used for calligraphy. The nibs also have a detachable reservoir. The pen nibs are shaped to fit into a slot in the base of a wooden or Bakelite pen holder. The hole at the front of the nib is for collecting ink from a well, which is then stored in a reservoir at the back of the nib. The nibsare stamped with their nib size and Pedigree (what type of nib it is) and maker’s details. William Mitchell Calligraphy still makes these nibs today with a slightly difference finish. (ref: Sales and Marketing Director of William Mitchell Calligraphy in 2016). HISTORY of the Ink Pen Quills and ink were common writing tools until the early 19th century when the pen trade began mass producing steel nibs and pens. The steel nibs each have a hole in the middle that acts like a well for the ink. When the nib is dipped into the ink well the writer needs to ensure that it is dipped to only just past that well. India Ink was one of the most popular inks used with the nib pens, notable for its satin-like smooth flow. This ink is composed of a particularly fine carbon mixed with water; it can also be obtained as a dry stick that is then crushed and mixed with water as required. The Jewellery Quarter of Birmingham had the largest concentration of independent jewellers in Europe. Birmingham became the centre of the world’s pen trade for many years -, during the 1800’s over 100 factories, employing 1000s of skilled workers, manufactured the ‘Birmingham Pen’. ABOUT WILLIAM MITCHELL CALLIGRAPHY LTD.* (*The following text is quoted from the William Mitchell Calligraphy website) British based William Mitchell Calligraphy has been designing and manufacturing exceptional pens for almost 200 years. The William Mitchell heritage in making pen nibs began whilst working with his brother John Mitchell in the early 1820s. William Mitchell established his own business in 1825 to become one of the leading nib manufacturers and famous for lettering pens. Almost 100 years later William Mitchell merged with Hinks, Wells & Co, another pen manufacturer, to form British Pens, employing around 1000 people in the Bearwood Road area of Birmingham. During the early 1960s British Pens acquired the pen business of other pen manufacturers Perry & Co and John Mitchell, once again reuniting the two brothers. Joseph Gillott, who were famous for their artist drawing and mapping nibs, amalgamated with British pens in 1969. William Mitchell and Joseph Gillott established in Birmingham during the early part of the nineteenth century and [their products] are still proudly made here. British Pens were subsequently purchased by its current owner Byron Head, the owner of William Mitchell (Sinkers) in 1982, and was subsequently renamed William Mitchell (calligraphy) Ltd. Established in 1827 Joseph Gillott was one of the pioneers of mass steel pen nib manufacturing. The company was particularly strong in the American market, prompting Elihu Burrit, the American consul, to write “In ten thousand school houses across the American continent between two oceans, a million children are as familiarly acquainted with Joseph Gillott as with Noah Webster” (The compiler of the famous American dictionary). The company consequently received visits from many notable Americans, including president Ulysses S Grant. The early 19th century invention and mass production of pen nibs such these in our collection had a large impact on education and literacy because the nibs could be produced in great numbers and affordable prices.Pen nibs; 2 cards of steel dip pen nibs from the 1920’s. The steel nibs are attached to cards by 2 rows of entwined cotton cord. Reverse sides of cards have some hand written marks. Manufacturer; William Mitchell, Birmingham, England. Card issued by British Pens Ltd. Nibs have shaped ends, a hole in the centre with a well on the underside, and the tops are shaped approximately quarter circle. Inscriptions are pressed into each nib. The script pens have detachable reservoirs made of a metal different to the nib. (Card 1) Round Hand Pens, 11 nibs remain from card of 12. Printed on card “Round Hand Pens for Beautiful Writing, Twelve degrees of point, Square points. William Mitchell, Birmingham, England. This card is issued by British Pens Ltd. MADE IN ENGLAND” Also printed on top left of card is a pen drawing of a person writing at a desk, background of decorative 3-paned window in brick wall. (Card 2) Script Pens; 11 nibs remain from card of 12. “Script pens fitted with detachable reservoir. William Mitchell, Birmingham, England. This card is issued by British Pens Ltd. MADE IN ENGLAND” Also printed on top right of card is a pen drawing of a person writing at a desk, background of decorative 3-paned window in brick wall. On Card 1, - each nib is stamped with its size, and “Wm MITCHELLS / PEDIGREE / ROUND HAND / ENGLAND” - hand written on front bottom of card in ball point pen “Lettering 5 times size of nib” - hand drawn on back of card in red and blue ball point pen are scribbled lines On Card 2 - each nib is stamped with its size, and “WILLIAM / MITCHELLS / SCRIPT PEN / ENGLAND” - a black circle corresponding to the nib is printed on the card above each nib. - hand written on back of card in black felt tip pen are numerals - hand drawn on back, 4 parallel lines in red ball point pen with the numbers “10” between 2 of the lines flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, great ocean road, william mitchell calligraphy ltd, british pens ltd., pen nib, writing implement, dip pen, round hand nib, script nib, birmingham manufacturer, communication in writing, mass produced pen nibs

This brand of starch was first manufactured before 1966 and covered the period when Australian made was the preferred clothing due to limited imports from England. This was a period when the demand for "home grown" produce was at its peak. This was in a time when by necessity and ease of supply and not by the "Buy Australian" campaign (of later years), was the major factor for the demand of these type of laundry goods. It was in a time when starch was used in formal clothing to put a "crisp" or fresh new appearance for clothes. This product was in the era and importantly the social more of "clothes make the person" in which starched shirts and dresses was the fashion vogue. Formality of dress was a strictly British "class" up-man-ship which from the 1950's onwards became less and less visible. The Australian "Ocker" or fair "dink'm" bloke became more entrenched after World War II. The national identity was slowly developing.This box of starch is very relevant to the Kiewa Valley because this box highlights the differences ,in this period, between city and rural social standards. Rural areas were deeply entrenched into colonial and the pioneer family structure viz- a-vie social and dress fashion standards. British values and norms lingered on well beyond the changes happening in city fashion. Tradition and English "ties" were the backbone of early colonies and it was only after World War II that these "ties" were becoming irrelevant. Early traditions lingered well past the independence sought by Federation, colony to statehood and trade with other nations eg. USA and Asia. The idea that a change in "status" would automatically change the social mores of Australians, especially in rural ares, was not fully grasped by the "law makers" and those wanting change.This box (capacity 12 ozs) has white(aged into cream) and blue printing and a "white star" on five sides, the sixth side has a laundry scene with two ladies, in early 1900's fashion. The package is made from 200 gsm thick cardboard. As manufacture was made before and during the two World Wars 1914 to 1945 the promotion was heavily focused on Australian made and Australian grown maize. One side of the box has instructions of use and all the other sides are promotional, detailing "the best in the world and won't stick to the iron""SILVER STAR", "THE BEST IN THE WORLD", "WON'T STICK TO THE IRON", "REQUIRES NO BOILING", INSTRUCTIONS FOR USE", "ROBERT HARPER AND COMPANY LIMITED", "INCORPORATED IN VICTORIA, AUSTRALIA", "NET WEIGHT 12 OUNCES", "LARGE BOX 12 OZS"domestic laundry essentials, cotton clothing preparations, household starch "crisp and neat appearances.

The autoharp is a portable, stringed musical instrument. It is a member of the zither family but differs from the traditional zither in that chords can be easily played. The buttons on the chord bars of the autoharp can be pressed onto the strings to make different sounds. The labels on the autoharp denote the chords and the notes that the strings play. The instrument is played with the box resting on a flat surface such as a tabletop, with the left hand moving the chord buttons and the right hand strumming the strings, usually with a pick or plectrum . The autoharp was invented around the mid-1880s. There are models now available that have variations in the numbers of strings the instrument has, and differences in the sounds of the chords. Typically the autoharp has 36 strings.This autoharp is an example of musical instruments played at social gatherings and concerts in the late 1800s and early to mid 1900s. It was easily carried by the player. It is usually held in the crook of the left arm with the narrow end resting on the should and the left hand supporting the wider end, the hand pressing on the chord buttons. The right hand strums in a similar way to a playing a guitar, usually holding a soft pick or plectrum.Autoharp, painted dark brown with red rose flower decals. The portable stringed musical instrument is a member of the zither family. The autoharp is shaped like a hollow box with one corner cut off. Strings of various lengths are attached with equal spacing, parallel to the long edge of the box. A slotted board rests over the top of the strings at one end, and buttons on the slots can be pressed onto the felt-padded bars below them to produce chords. There are labels on the upper and lower boards that denote chords and musical notes.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, musical instrument, stringed instrument, harp, auto harp, zither, portable

Box of dip pen nibs made by William Mitchell Calligraphy dating back to late 19th or early 20th century when dip pens with steel nibs were the main writing instruments. The pen nibs are shaped to fit into a slot in the base of a wooden or Bakelite pen holder. The hole at the front of the nib is for collecting ink from a well, which is then stored in a reservoir at the back of the nib. The nibs are stamped with their nib size and Pedigree (what type of nib it is) and maker’s details. William Mitchell Calligraphy still makes these nibs today with a slightly difference finish. (ref: Sales and Marketing Director of William Mitchell Calligraphy in 2016). HISTORY of the Ink Pen Quills and ink were common writing tools until the early 19th century when the pen trade began mass producing steel nibs and pens. The steel nibs each have a hole in the middle that acts like a well for the ink. When the nib is dipped into the ink well the writer needs to ensure that it is dipped to only just past that well. India Ink was one of the most popular inks used with the nib pens, notable for its satin-like smooth flow. This ink is composed of a particularly fine carbon mixed with water; it can also be obtained as a dry stick that is then crushed and mixed with water as required. The Jewellery Quarter of Birmingham had the largest concentration of independent jewellers in Europe. Birmingham became the centre of the world’s pen trade for many years -, during the 1800’s over 100 factories, employing 1000s of skilled workers, manufactured the ‘Birmingham Pen’. ABOUT WILLIAM MITCHELL CALLIGRAPHY LTD.* (*The following text is quoted from the William Mitchell Calligraphy website) British based William Mitchell Calligraphy has been designing and manufacturing exceptional pens for almost 200 years. The William Mitchell heritage in making pen nibs began whilst working with his brother John Mitchell in the early 1820s. William Mitchell established his own business in 1825 to become one of the leading nib manufacturers and famous for lettering pens. Almost 100 years later William Mitchell merged with Hinks, Wells & Co, another pen manufacturer, to form British Pens, employing around 1000 people in the Bearwood Road area of Birmingham. During the early 1960s British Pens acquired the pen business of other pen manufacturers Perry & Co and John Mitchell, once again reuniting the two brothers. Joseph Gillott, who were famous for their artist drawing and mapping nibs, amalgamated with British pens in 1969. William Mitchell and Joseph Gillott established in Birmingham during the early part of the nineteenth century and [their products] are still proudly made here. British Pens were subsequently purchased by its current owner Byron Head, the owner of William Mitchell (Sinkers) in 1982, and was subsequently renamed William Mitchell (calligraphy) Ltd. Established in 1827 Joseph Gillott was one of the pioneers of mass steel pen nib manufacturing. The company was particularly strong in the American market, prompting Elihu Burrit, the American consul, to write “In ten thousand school houses across the American continent between two oceans, a million children are as familiarly acquainted with Joseph Gillott as with Noah Webster” (The compiler of the famous American dictionary). The company consequently received visits from many notable Americans, including president Ulysses S Grant. Email on file, from Mike Chappell, Sales and Marketing Manager, William Mitchell Calligraphy, “20161122 - William Mitchell re pen nibs” How to use a dip pen to create modern calligraphy, https://thepostmansknock.com/how-to-use-a-dip-pen-to-create-modern-calligraphy/ India Ink, Wikipedia https://en.wikipedia.org/wiki/India_ink birmingham Pen Trade, Wikipedia, https://en.wikipedia.org/wiki/Birmingham_pen_trade The Pen Museum, http://penmuseum.org.uk/ The early 19th century invention and later mass production of pen nibs such these in our collection had a large impact on education and literacy because the nibs could be produced in great numbers and affordable prices.Box of patent Mitchell nibs containing 48 "Pedigree" nibs. Box depicts picture of William Mitchell on lid, and picture of nib pen on lid and side. Made in Birmingham, England. Nib “0505 Wm MITCHELLS PEDIGREE ENGLAND” Box “PEDIGREE / MAINFOLD SLIP”, “WILLIAM MITCHELL / BIRM - - - - - - LOND” flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, william mitchell calligraphy ltd, pen nib, writing implement, writing accessories, dip pen, birmingham manufacturer, communication in writing, mass produced pen nibs

An Awl is used to make indentations in wood or other materials in order to ease the insertion of a nail or screw. The blade is placed across the fibers of the wood, cutting them when pressure is applied. The Awl is then twisted through 90 degrees which displaces the fibers creating a hole. This then gives a start to the nail or screw being inserted into the work piece. There is a difference between an Awl and a Bradawl, the Awl is a small hand-held tool with a sharpened point and a Bradawl is similar but is flattened at its tip to produce a sharp chisel edge.An everyday tool used in carpentry, the subject item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as believed to have been produced during the 20th century.Awl with wooden handle with brass ferrule & steel pointed shaftStamped on handle J McArthur (owner)flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, awl, j mcarthur, carpenders tools, woodworking tools, nail starter

The National Wool Museum accepted a donation from Brian Licence in 2022 of several mementoes relating to his career in the wool industry. Brian studied Wool Classing and worked for a decade in this profession before moving to Melbourne which required him to change careers. These Member’s Tickets served as proof of Brian’s membership to the Woolclassers’ Association of Australia from 1962 to 1972. The Woolclassers' Association of Australia was a trade union representing Woolclassers in Australia. It amalgamated with the Australian Workers Union in 2009. The Association had 1200 members in 1997. 11 individual-coloured booklets, 10 original and 1 duplicate. The duplicate is from the year 1965/1966 when Brian Licence transferred from being a probationary member of the Woolclassers’ Association of Australia to a full member and hence received a new ticket which reflected this change. Internally, there is no difference in any of the booklets over the 10 years. Externally, there is only a slight change, with the Woolclassers’ Association of Australia's logo being included from 1965/1966 onwards. The booklets are a single piece of card folded at the middle to make 4 pages. The first page gives the name of the association, the year of issue, and in later years the Association's logo. Internally, the booklet provides the location of the Association, the name, address, and signature of who the booklet certifies, and details about the member’s rank, an Overseer, Expert, Full, or Probationary Member. The date and signature of the Secretary of the Association conclude the internal pages. On the rear page, the Head Offices of the Woolclassers’ Association of Australia branches in NSW, Victoria & Tasmania, South Australia, Western Australia, and Queensland are provided. Booklet one is on yellow card with black text and is for the years 1962/1963 Booklet two is on aqua card with black text and is for the years 1963/1964 Booklet three is on blue card with black text and is for the years 1964/1965 Booklet four is on orange card with black text and is for the years 1965/1966 Booklet five is on orange card with black text and is for the years 1966/1967 Booklet six is on red card with black text and is for the years 1967/1968 Booklet seven is on white card with green text and is for the years 1968/1969 Booklet eight is on turquoise card with black text and is for the years 1969/1970 Booklet nine is on cream card with black text and is for the years 1970/1971 Booklet ten is on a lavender card with blue text and is for the years 1971/1972 Booklet eleven is on peach card with black text and is for the years 1972/1973 Multiple. See multimediawool classing, brian licence, woolclassers’ association of australia

Ticket contained within Reg. Item 2526, page 58, ESCo, Ballarat Tramways, Lunch Hour Weekly Ticket, price 1/6, printed for Week 4, that is not available for Sundays or Holidays. Ticket printed on light weight card, in two colours, dark yellow and light brown, numbered 4267, for specific use between the Orphanage (Victoria St) and Doveton St. Notes the conditions of use, the time available for which the ticket may be used. Ticket has been punched or nipped four times and shows that it was stapled to a block. Printed by J.J. Miller, Melbourne. Note Item Not formally Numbered. Image btm2541i shows position on page relative to items 2541 to 2545. Handwritten notes, Reg. Item 2541, make reference to these items. See Reg Item 2948 for circular detailing their use at the commencement of the issue of this style of Weekly Tickets - some detail differences in the style and colours later on.trams, tramways, tickets, weekly tickets, lunch hour, esco

Ticket contained within Reg. Item 2526, page 58, ESCo, Ballarat Tramways, Morning and Evening Weekly Ticket, price 1/6, printed for Week 4, that is not available for Sundays or Holidays. Ticket printed on light weight card, in two colours, light green and grey, numbered 5582, for specific use between the Orphanage (Victoria St) and Doveton St. Notes the conditions of use, the time available for which the ticket may be used. Ticket has been punched or nipped four times and shows that it was stapled to a block. Printed by J.J. Miller, Melbourne. Note Item Not formally Numbered. Image btm2541i shows position on page relative to items 2541 to 2545. Handwritten notes, Reg. Item 2541, make reference to these items. See Reg Item 2948 for circular detailing their use at the commencement of the issue of this style of Weekly Tickets - some detail differences in the style and colours later on.trams, tramways, tickets, weekly tickets, lunch hour, esco

Yields information about the dimensions and equiipment on Ballarat Tramcars operated by the SEC.Typed List of tramcars and their details for Ballarat dated 5-August-1964, titled "Numbers and Particulars of Trams". Prepared by Les Denmead, typed by PB. Ballarat - typed carbon copy - two sheets, are taped together. Gives details of where purchased from , date of purchase, type, body builder, seating capacity, overall length, overall height, overall width, condition of tram, trolley base, Lightning arrester, controller make and type, Truck Maker and type, type of truck, axle type, wheel base, axle diameter, motors type and maker, Motor horsepower, Armature bearings, suspension bearings, gear teeth, Air compressor make and type, Brake Valves make and type, Governor make and type, Weight in tons and details of advertising space in racks. At base has typed (original) list of trams of the two types, single truckers and bogie trams. List of trams includes the scrubber and No. 20 which was scrapped prior to system closure. See also 8721 and 8722 for other versions - different dates and 8690 for a Bendigo list. Note: Framed copies of both Ballarat and Bendigo are held in the depot. Some changes have been made to the tramcars since the preparation of this sheet and there are some errors and differences. See also Reg Item 6879 for an annotated version.In black ink, top right hand corner - "Ballarat Tramway Preservation Society Cat No. 613"tramcars, ballarat, equipment, lists, data

Ballarat - Gives details of where purchased from , date of purchase, type, body builder, seating capacity, overall length, overall height, overall width, condition of tram, trolley base, Lightning arrester, controller make and type, Truck Maker and type, type of truck, axle type, wheel base, axle diameter, motors type and maker, Motor horsepower, Armature bearings, suspension bearings, gear teeth, Air compressor make and type, Brake Valves make and type, Governor make and type, Weight in tons and details of advertising space in racks. At base has typed (original) list of trams of the two types, single truckers and bogie trams. List of trams includes the scrubber and No. 20 which was scrapped prior to system closure. See also 3430 and 8721 for other versions - different dates and 8690 for a Bendigo list. Note: Framed copies of both Ballarat and Bendigo are held in the depot. Some changes have been made to the tramcars since the preparation of this sheet and there are some errors and differences. See also Reg Item 6879 for an annotated version.Yields information about the dimensions and equiipment on Ballarat Tramcars operated by the SEC.Dyleline print of a typed List of tramcars and their details for Ballarat dated 5 September 1966 (typed on), titled "Numbers and Particulars of Trams". tramcars, ballarat, equipment, lists, data

Ballarat - Gives details of where purchased from , date of purchase, type, body builder, seating capacity, overall length, overall height, overall width, condition of tram, trolley base, Lightning arrester, controller make and type, Truck Maker and type, type of truck, axle type, wheel base, axle diameter, motors type and maker, Motor horsepower, Armature bearings, suspension bearings, gear teeth, Air compressor make and type, Brake Valves make and type, Governor make and type, Weight in tons and details of advertising space in racks. At base has typed (original) list of trams of the two types, single truckers and bogie trams. List of trams includes the scrubber and No. 20 which was scrapped prior to system closure. See also 3430 and 8722 for other versions - different dates and 8690 for a Bendigo list. Note: Framed copies of both Ballarat and Bendigo are held in the depot. Some changes have been made to the tramcars since the preparation of this sheet and there are some errors and differences. See also Reg Item 6879 for an annotated version.Yields information about the dimensions and equiipment on Ballarat Tramcars operated by the SEC.Typed List (Carbon copy) of tramcars and their details for Ballarat dated 11 May 1961, titled "Numbers and Particulars of Trams". Two sheets which have been taped together. Two copies held. tramcars, ballarat, equipment, lists, data

In May 1931 the Australian government announced a 20% reduction in expenditure, cuts to wages and pensions, and increased taxation. Despite workers striking, wages were reduced and working hours increased. The economy plunged into depression. Workers blamed the hardships on greedy bankers and the rich elite. The unemployed’ home-made, designed, knitted, painted and created things like pegs, pincushions, soaps, kitchen utensils and Pokerwork art, to sell door-to-door or in the streets. ‘Make Do and Mend’ was the mantra of the time. Making and mending clothing at home became a means to save money and an income offering services mending, altering or making clothes for the working people. Making over garments had been a time-honoured tradition since pioneer days. During the Depression clothes were a luxury and new fashions were created by altering old clothes. A best dress became a housedress, a church suit became a mine suit. Old shirts became new aprons, old trousers became new hats. Magazines and newspapers published Instructions on making and mending clothing and these became curriculums for sewing classes. Darning, mending, patching, saving fabric for rags, patches or upcycling became a necessity. Having a Sewing machine like this 1927 Singer housed in Oliver Gilpin’s store at Coal Creek Community Park and Museum could be the difference between survival and starvation The popularity of publications such as ‘Make do and mend’ lasted through the Second World War and into the 20th Century. Hand operated Singer sewing machine with wooden cover, circa 1927Y4476618