A silk patchwork quilt in a hexagons pattern originally owned by the Denbigh family of ‘Wimba’. The Denbigh family is recorded as living at ‘Park Villa’ ‘near Kew’ in 1856. John Denbigh was at this stage the superintendent of the local Baptist school. By 1869 they are listed as residing in Cotham Road. John Sharp Denbigh’s death in 1875 resulted in the sale of Wimba. This is an important early English silk hexagons quilt with outstanding technical workmanship, and is well-provenanced.The quilt is constructed in the popular hexagon pattern of silk off-cuts of an earlier period. Hexagon patchwork quilts were typically constructed of individual hexagons, which were formed using paper or card templates. Where these are visible, it would indicate that writing paper was used to form the templates. The quilt is unlined and has a green silk border, added at a later date. Early 19th Century patchwork quilts tended to use cotton to create the hexagons, whereas silk became the preferred medium mid-century. The quilt has been dated to the middle decades of the 19th century due to the colour range, and the exclusion of black silk hexagons. Most of the silk used in the quilt has a sheen, however there is some use of velvet in one or two larger hexagons. The exposed reverse of the quilt includes a large amount of very fine hand stitching.An unlined quilt was typically used as a summer spread. patchwork quilt, hexagon pattern, denbigh family, wimba, cotham road, kew, john denbigh, helen johnston, quilt, patchwork, textiles, migration to australia

1 Russell Street was built in 1888 and from 1888–1905 (maybe 1911, as his death notice says he died at Russell Street) it was the home of James Burrell, a blacksmith. His smithy was on the corner of Canterbury Road. In 1893 a block of land (No.3 ) was bought to establish the fire station and James Burrell acted as fire officer and stored the reel and hose until the station was built. From 1911–1928 it was the fire station residence, as the brigade gained status. James Burrell (1860-1911) married Elizabeth Wilson (1862-1925). She was daughter of Edward Wilson. They had 4 children: James Herbert, known as Bert (1888-1953); Aleck (1890-1951); William Spencer, known as Bill, (1893-1976) and Elsie May (1898-1990). Both James and Elizabeth Burrell are buried in Burwood Cemetery. From 1930–1943 Michael Ginnane, retired station master, and members of his family lived in the house. Michael Ginnane (1864-1935) married Annie Mary Brock (1868-1945). Both were born in the Ballarat area. They had 10 children. From 1913-1917 he was station master at Woodend. In the 1925 electoral rolls the family is listed as living at Surrey Hills station. There was a station master's house adjacent to the station (demolished and the site now part of the car park accessed off Blackburn Street). They are again listed here in the 1925 electoral roll. By 1931 they are at 1 Russell Street and he is listed as a retired station master. The following children lived in Surrey Hills: John James (Clerk) - 1922 Mary Ellen (HD) - 1922, 1925, 1931 Michael Thomas (labourer) - 1922 Annie Florence (dressmaker) - 1925, 1931 William Patrick (railwayman) - 1925 Elizabeth Catherine (sales) - 1931 Patrick Leo (postman) - 1931. A black and white photograph taken on an angle from across the street of a mid-late Victorian style cottage with multi-coloured brickwork. There is a large tree in the front garden, no fence and a letterbox on a lean.(mr) james burrell, blacksmiths, canterbury road, surrey hills, fire officers, (mr) michael ginnane, station masters, fire stations, mid-victorian style, (miss) elizabeth wilson, (mrs) elizabeth burrell, james herbert burrell, aleck burrell, william (bill) spencer burrell, elsie may burrell, (miss) annie mary brock, (mrs) annie mary ginnane, john james ginnane, (miss) mary ellen ginnane, michael thomas ginnane; (miss) annie florence ginnane; william patrick ginnane; elizabeth catherine ginnane; patrick leo ginnanean), late-victorian style, russell street

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. Glen Eira Heritage Management Plan (1996) by Andrew Ward and Associates - Vol 3 "Nithsdale", built for J.S. Crouchin 1858 and extended in 1885 with a tower and associated rooms, survives as testimony to the nineteenth century occupation of the vicinity of the Kambrook/Glen Eira Road intersection. Caulfield's Building Heritage by Dr Geulah Solomon, Vol 1 p49 records it as a small Victorian mansion home on bluestone foundations of Italianate style with a tower. Built for J S Chambers circa 1860, it was built in stages and then the land subdivided in the 1920s. Other owners include Adolph F Brockhoff (of Brockhoff Biscuits company). Names used besides Nithsdale have been Bundoora and Five Way Hill. Page 102 of Photograph Album with four photographs (three landscape and one portrait) of Nithsdale, now known as Five Way Hill. Three views of the tower and one of the house.Handwritten: "Nithsdale" now "Five Way Hill" Kambrook road [top right] / CNR KAMBROOK AND GLENEIRA ROADS [under bottom right photo] / 102 [bottom right]trevor hart, north caulfield, victorian, mid victorian, late victorian, tower, j.s. crouchin, 1850's, 1880's, italianate, rendered, five way hill, nithsdale, slate roof, plaster arches, ornamental columns, triangular pediment, ornamental parapet, cast iron balconies, kambrook road, glen eira road, t crouch, j s crouchin, mansions, j s chambers, bluestone foundations, land subdivision, adolph f brockhoff, bundoora, house names

What House is That? A Guide to Victoria's Housing Styles. Housing styles, colours, architecture. Photographs & illustrations. 27 pages. Green sft coverhouses, housing styles, colours, architecture. early victorian, mid victorian, late victorian boom style, queen anne, edwardian, californian bungalow, early modern, modern

This photograph is part of the Caulfield Historical Album 1972. This album was created in approximately 1972 as part of a project by the Caulfield Historical Society to assist in identifying buildings worthy of preservation. The album is related to a Survey the Caulfield Historical Society developed in collaboration with the National Trust of Australia (Victoria) and Caulfield City Council to identify historic buildings within the City of Caulfield that warranted the protection of a National Trust Classification. Principal photographer thought to be Trevor Hart, member of Caulfield Historical Society. Most photographs were taken between 1966-1972 with a small number of photographs being older and from unknown sources. All photographs are black and white except where stated, with 386 photographs over 198 pages. The mansion has been the site of Shelford Church of England Girls’ Grammar School - now Shelford Girls’ Grammar School - since circa 1922.From Victorian Heritage Database citation for HO115: "Helenslea" 3 Hood Crescent, Caulfield North https://vhd.heritagecouncil.vic.gov.au/places/35212 as at 21/10/2020 ''Helenslea'' was built for Sir George Stephen, MLA, barrister and mining investor by 1863. It was built with an address to Glen Eira Road with the driveway gates close by the present Helenslea Road corner. The present address is no. 3 Hood Crescent, Caulfield North. It is historically, aesthetically and socially significant. It is historically significant (Criterion A) as the home of Sir George Stephen, MLA for Collingwood, barrister and mining investor and for its capacity to demonstrate Caulfield's early attraction as a residential retreat for Melbourne's eminent citizens. It is aesthetically significant (Criterion E) as a villa residence characteristic of the mid Victorian period, predating the use of cast iron and comparing in this respect with Charles Webb's "Farleigh" (1865) at 6 Farleigh Grove, Brighton. Its substantial nature causes it to be the earliest surviving mansion house in the Municipality. The porch, external austerity and opulent entrance hall and staircase are important contributory elements whilst the survival of the exterior surfaces predominantly in an unpainted state enhances its level of integrity. It is socially significant (Criterion G) for its association with Shelford C.E.G.G.S. since 1922. Page 86 of Photograph Album with three photographs (two portrait and one landscape ) of different views of Helenslea. One is a photo of a photograph.Handwritten: "Helenslea" now C.E.G.G.S Hood Cres [top right] / third photo is of a photograph titled "Shelford" / 86 [bottom right]trevor hart, hood crescent, helenslea, c.e.g.g.s., school, 1860's, sir george stephen, unpainted, mansion, shelford, villa residence, mid victorian, glen eira road, helenslea road, ceggs, porches, stairs, caulfield north, entrances, shelford church of england girls' grammar school, shelford girl's grammar, ivy -covered walls, caulfield

It is a portrait of a man believed to be related to George Evans. A framed copy of an opal type photograph of a gentleman believed to be related to George Evans. The outer frame is made up of brown stained timber with a gold surround in the middle and a red velvet inner surround. It is a head and shoulders photograph of a white haired and bearded man dressed in a dark suit and bow tie of the mid-Victorian era.george evans collection

In 1975, 120 years after the sailing ship Schomberg was wrecked, Flagstaff Hill divers (Peter Ronald, Colin Goodall and Gary Hayden) found an ornate communion set amongst the wreckage. The set comprised a jug, ciborium, lid, chalice and plate. The items, apart from the lid, were then displayed at Flagstaff Hill Maritime Village. The lid had etchings that did not match the chalice and sat in storage for several years. Then in 1978, while the marine concretion inside the lid was being examined, a surface layer came loose and revealed a glint of gold that was assumed to be a piece of brass. The layers of concretion were carefully removed and a ring-like band emerged. Further treatment exposed a 'large faceted stone in an intricate gold setting. Weeks later a detailed examination estimated the value of the ring, known as the Schomberg Diamond, to be $7000. When the Schomberg was launched in 1855, she was considered the "Noblest” ship that ever floated on the water. Schomberg's owners, the Black Ball Line had commissioned the ship for their fleet of passenger liners. She was built by Alexander Hall of Aberdeen at a cost of £43,103 and constructed with 3 skins. One planked fore and aft and two diagonally planked, fastened together with screw-threaded trunnels (wooden rails). Her First Class accommodation was simply luxurious with velvet pile carpets, large mirrors, rosewood, birds-eye maple and mahogany timbers throughout, soft furnishings of satin damask, an oak-lined library with a piano. Overall she had accommodation for 1000 passengers. At the launch, the Schomberg's 34-year-old master, Captain 'Bully' Forbes, had promised to reach Melbourne in sixty days stating, "with or without the help of God." Captain James Nicol Forbes was born in Aberdeen in 1821 and rose to fame with his record-breaking voyages on the famous Black Ball Line ships; Marco Polo and Lightning. In 1852 in the Marco Polo, he made the record passage from London to Melbourne in 68 days. Unfortunately there were 53 deaths on the voyage, but the great news was off the record passage by Captain Forbes. In 1854 he took the clipper “Lighting” to Melbourne in 76 days and back in 63 days, this record was never beaten by a sailing ship. He often drove his crew and ship to breaking point to beat his previous records. He cared little for the comfort of the passengers. On this, the Schomberg's maiden voyage, he was determined to break existing records. Schomberg departed Liverpool on her maiden voyage on 6th October 1855 flying a sign that read "Sixty Days to Melbourne". She departed with 430 passengers and 3000 tons cargo including iron rails and equipment intended to build the Melbourne to Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. She also carried a cow for fresh milk, pens for fowls and pigs, 90,000 gallons of water for washing and drinking. She also carried 17,000 letters and 31,800 newspapers. The ship and cargo were insured for $300,000 a fortune for the time. The winds were poor as she sailed across the equator, slowing Schomberg's journey considerably. Land was first sighted on Christmas Day, at Cape Bridgewater near Portland, Captain Forbes followed the coastline towards Melbourne. Forbes was said to be playing cards when called by the third mate Henry Keen, who reported land about 3 miles off. Due in large part to the captain's regarding a card game as more important than his ship, it eventually ran aground on a sand spit near Curdie's Inlet (about 56 km west of Cape Otway) on 26th December 1855, 78 days after leaving Liverpool. The sand spit and the currents were not marked on Forbes's map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted the SS Queen at dawn and signaled the steamer. The master of the Queen approached the stranded vessel and all of Schomberg’s passengers and crew disembarked safely. The Black Ball Line's Melbourne agent sent a steamer to retrieve the passengers' baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Later one plunderer found a case of Wellington boots, but alas, all were for the left foot. Local merchants Manifold & Bostock bought the wreck and cargo but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. In 1864 after two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned. In 1870, nearly 15 years after the wreck parts of the Schomberg had washed ashore on the south island of New Zealand. The wreck now lies in almost 9 meters of water and although the woodwork is mostly disintegrated the shape of the ship can still be determined due to the remaining railway irons, girders and the ship’s frame. A variety of goods and materials can be seen scattered about nearby. The actual lid in which the ring was found has not yet been completely identified and could belong to a coffee pot, sugar bowl or maybe a jug or something similar. Although all survived the wreck no-one came forward to claim the valuable diamond. The Schomberg Diamond is currently on display in the Great Circle Gallery. Flagstaff Hill Maritime Village along with the rest of the communion set. Other artefacts salvaged from the wreck include ship fittings and equipment, personal effects, a lithograph, tickets and photographs from the Schomberg. One of the Schomberg bells is in the Warrnambool Library.The Schomberg Diamond is particularly significant in that it played a crucial part in having the legislation changed to protect shipwrecks, with far tighter control over the salvaging of items from wreck sites. This ring is registered as Artefact S/105 in the Schomberg collection, the Schomberg collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered shipwreck (VHR S 612). The collection is of prime significant because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes. A mid-Victorian gentleman's solitaire diamond dress ring with a Brazilian cut diamond (cushion cut), one and one-third carat set within an 18 carat yellow gold ring consisting of four claws within an open scroll setting and a divided scroll shank. Colour is classified as 'J', clarity SII. The setting is handmade. warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, shipwrecked-artefact, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, ciborium, ring, schomberg-diamond, schomberg-ring, gentleman's ring, dress ring

Colour transparency (slide) created in June 1976 during a tour by the Junior National Trust, which was led by members of Kew Historical Society. The collection of 21 slides reveals that the tour covered all parts of Kew, but focused understandably on heritage buildings and sites.Image of an historic place in Kew that can be dated to an exact time and place. The images, albeit amateurish in composition, frequently reveal aspects of important buildings and sites that have changed over time.35mm colour transparency of Burke Hall (formerly Studley House, Waverley) showing the front facade facing south away from Nolan Avenue and Studley Park Road. Now Xavier Junior School, the Victorian Heritage Register describes the building as: "...a largely intact mansion commenced in the mid-Victorian period that was sympathetically added to during the nineteenth century and as such, is one of the key Victorian buildings to have been built in Kew. the historical associations with figures such as Charles C. Staples and Carl Pinschof enhance the significance, while the additions made to the house in recent years detract from it."historic houses -- kew (vic.), nolan avenue -- kew (vic), xavier college -- kew (vic.), burke hall, waverley, studley hall

Surrey Hills Mounted Police Station was located at 5 Suffolk Road (dem.) from 1889-1914. It was a police residence with two rooms as the police office and workshop. There were stables on the back fence. The property adjoined Wyclif Church in Norfolk Road. Gilbert McCallum rented from c.1914-1923 when he built a home in Westminster Street. It is his son Archie who can just be seen on the front steps. Archie remembers the 2 storied stables with a gantry for hauling feed sacks up with a block and tackle, then a polished wood slide to send the feed down. The McCallum children and local friends found this to be a marvellous slide. David McPhie, ex-police force, lived here with his family from 1923-c.1950. A black and white photograph showing a mid to late Victorian style weatherboard house with decorative brackets under the eaves. The verandah is of timber with decorative timber fretwork.surrey hills mounted police, suffolk road, surrey hills, wyclif church, police, gilbert mccallum, archie mccallum, david mcphie

In 1902 a ballast siding was opened 4km south of Gellibrand to provide materials for track construction. A spur siding, with points facing Beech Forest and a capacity for six trucks, was cut into the side of a slope. Above this was erected a loading bin and chute. The stone proved to be of durable quality so the siding continued in commission after 1902 for track re-ballasting work. By the mid-1920s Victorian Railways found it more economic to use ballast from Penshurst, so the siding was closed by 1925 and the rails lifted.Photograph; B/W. Gellibrand Ballast Loading Sitegellibrand; ballast; railways; siding;

Carafe believed to be of the mid to late Victorian era and used as a bedside water carafe however the tumbler is possibly not of the same era could be later. These sets were in fashion from the 1700s filled with water and used if the owner required a drink during the night. however the subject item would have been made after 1850 as glass etching started to be used on glass from around this period.The carafe is most likely a vintage example of a Victorian bedside water container and for that is significant. The item was made in England.Bedside water carafe, onion-shaped, with a glass tumbler. The hand-blown set is clear crystal glass with an acid-etched fern decoration on both pieces. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, carafe and tumbler set, blown glass carafe and tumbler, hand made glass, carafe, tumbler, bedside set

In 1902 a ballast siding was opened 4 km south of Gellibrand to provide materials for track construction. A spur siding with a capacity for six trucks was cut into the side of a slope. Above this was erected a loading bin and chute. The stone proved to be of durable quality so the siding continued after 1902 for periodic track re-ballasting works. The points were set for the main line and spiked shut when the siding was not in use. By the mid-1920s the Victorian Railways found it more economic to use ballast from Penshurst, so the siding was closed by 1925 and the rails lifted.B/W. Gellibrand ballast pit siding at 19 miles (30.6 km) south of Colac. gellibrand; gellibrand siding; railways;

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal.The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A large crucible, or fluxing pot, for heating and pouring molten metal. It was recovered from the wreck of the LOCH ARD. The clay fired vessel rises from circular flat base to a larger rim with pouring lip. It is stained a rust colour and bears some sedimentary accretion. Half of its loose fitting lid with central knob has also survived. Markings on the artefact indicate it is a Morgan’s crucible, made with graphite to prevent cracking in the furnace and provide a smooth (non-adhesive) inner surface. On base: “…RGAN’S PATENT CRUCIBLE”. On rim: “MORGAN’S PATENT P…” Below top edge "BAK"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgans crucible company, loch ard, fluxing pot, crucible

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity and expansion in foundries and demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. A summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not part of a larger consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A No. 6 size Morgan’s graphite crucible (i.e. 6kgs capacity). The crucible rises in a slight curve from a smaller flat base up to a wider top with a (chipped) pouring lip. It was recovered from the wreck of the LOCH ARD. The artefact is largely accretion free despite its long period of submersion at the wreck site. It has a number of visible maker’s markings which identify the manufacturer and the smelting capacity of the pot. The graphite crucible is in fair and stable condition. The number “6” which is framed in a square. The letters “THE PATENT PLUMBAGO CRUCIBLE COMPANY” and “BATTERSEA WORKS COMPANY”. Below rim "... GNS"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, crucible, fluxing pot

Aerial photos were used to make maps of forest types, timber resources, to survey logging areas and regeneration, to mark boundaries of public land and new plantations, to identify new roads and tracks, as well as for fire suppression. Infrared film was sometimes used to monitor insect and disease attack. The images needed to sharp, with high contrast, and in a large format (most were printed in B&W on 9-inch by 9-inch glossy photographic paper) with at least a 60% overlap to enable stereoscopic viewing and with a 20-30% side lap to allow for aircraft drift. Preferably, the photo scale was close to the final map scale avoid to problems when enlarging and to reduce distortion. Something was needed to supplement the very expensive and infrequent large-area photography programs. From the mid-1960s Victorian foresters began experimenting with small format 70mm and 35mm cameras which proved simple, practical, cheap and flexible. It was found that any SLR camera could be used provided it had a good quality lens and fast shutter speed (preferably down to 1/1000 second). Motorised cameras with a large film capacity had obvious advantages and were essential when access to the camera was not possible during flight. It is also essential for the shutter to operate at low temperatures and those lubricated with silicones were recommended. Components of a typical FCV Divisional Office system included – A Hasselblad or Vinten 70 mm format aerial camera with a focal plane shutter which could be electrically operated. Interchangeable lenses to allow for different photo scales and flying heights. Several large film magazines, which were loaded in a darkroom, each with a capacity of 100 feet or approximately 500 frames. A remote control for the camera in single-shot mode or automatic firing at selected intervals of 2 to 50 seconds. It also needed a frame counter. A light aircraft was modified with an internal mounting for the camera to keep it level and steady. Often a hole was cut through the floor for the lens. The aircraft also needed an inbuilt 12 Volt DC battery to operate the motorised camera shutter. The front passenger seat was generally removed to improve access to the camera. An Aldis drift sight was also fitted. This might be likened to an inverted periscope and is used to determine drift, to facilitate accurate navigation along flight lines and to determine the exposure interval for stereoscopic overlap. This item is kept at Traralgon.Hasselblad 500 ELM camera with 70mm lens, film pack, motor drive and battery In 1964 Hasselblad started production of a motorized camera, the 500 EL The EL/M is a modified version of the EL, "M" means modified, "EL" electric. Perhaps the most famous use of the Hasselblad camera was during the Apollo program missions when man first landed on the Moon. Almost all of the still photographs taken during these missions used modified Hasselblad cameras. forests commission victoria (fcv), forest measurement, surveying, mapping

Aerial photos were used to make maps of forest types, timber resources, to survey logging areas and regeneration, to mark boundaries of public land and new plantations, to identify new roads and tracks, as well as for fire suppression. Infrared film was sometimes used to monitor insect and disease attack. The images needed to sharp, with high contrast, and in a large format (most were printed in B&W on 9-inch by 9-inch glossy photographic paper) with at least a 60% overlap to enable stereoscopic viewing and with a 20-30% side lap to allow for aircraft drift. Preferably, the photo scale was close to the final map scale avoid to problems when enlarging and to reduce distortion. Something was needed to supplement the very expensive and infrequent large-area photography programs. From the mid-1960s Victorian foresters began experimenting with small format 70mm and 35mm cameras which proved simple, practical, cheap and flexible. It was found that any SLR camera could be used provided it had a good quality lens and fast shutter speed (preferably down to 1/1000 second). Motorised cameras with a large film capacity had obvious advantages and were essential when access to the camera was not possible during flight. It is also essential for the shutter to operate at low temperatures and those lubricated with silicones were recommended. Components of a typical FCV Divisional Office system included – A Hasselblad or Vinten 70 mm format aerial camera with a focal plane shutter which could be electrically operated. Interchangeable lenses to allow for different photo scales and flying heights. Several large film magazines, which were loaded in a darkroom, each with a capacity of 100 feet or approximately 500 frames. A remote control for the camera in single-shot mode or automatic firing at selected intervals of 2 to 50 seconds. It also needed a frame counter. A light aircraft was modified with an internal mounting for the camera to keep it level and steady. Often a hole was cut through the floor for the lens. The aircraft also needed an inbuilt 12 Volt DC battery to operate the motorised camera shutter. The front passenger seat was generally removed to improve access to the camera. An Aldis drift sight was also fitted. This might be likened to an inverted periscope and is used to determine drift, to facilitate accurate navigation along flight lines and to determine the exposure interval for stereoscopic overlap. This item was found in storage at the Beechworth museum and its in poor condtionHasselblad 500 ELM camera with 70mm lens, film pack, motor drive and battery In 1964 Hasselblad started production of a motorized camera, the 500 EL The EL/M is a modified version of the EL, "M" means modified, "EL" electric. Perhaps the most famous use of the Hasselblad camera was during the Apollo program missions when man first landed on the Moon. Almost all of the still photographs taken during these missions used modified Hasselblad cameras. forests commission victoria (fcv), forest measurement, surveying, mapping

This glass milk bottle was manufactured and used mid 1800's (1834 Victorian dairy industry was founded) to the time that a cheaper container was invented(plastic bottles and polyethylene plastic lined cardboard cartons). In 1909 the supply of pure bottled milk was required for babies to overcome infant mortality due to unhygienic milk sources (unclean containers and unpasteurized milk). Due to the large volume of milk being processed and hand milking could not keep up with demand, dairy farms introduced milking machines in the late 1930's. The great increases in dairy herds from the average of 18 cows per heard in 1950's to 142 cows per herd in 1996 required milk tankers to pick up the regions milk supply. This bottle was so constructed to be easily moved within the milk processing plants from the delivery vats/holding tanks to the final corking/sealing of the bottles for eventual distribution. From 1958 the milk bottle slowly became phased out of production. At this point in time Melbourne was drawing 160,000 bottles per week from the two major glass bottle works companies, e.g. Melbourne Glass Bottle Works Co.Victoria was the major state supplier of cows milk in the history of Australian milk production from the early 1800's. The Kiewa Valley and its region was a major contributor to meet that demand. Each bottle was "branded" during manufacturing to show the contents (pasteurized milk) and where it originated from (region and supplier). This method of recycling the bottles back to specific dairy farms was a good control method but an uneconomical "on cost" which was replaced by the "throw away" less costly plastic and cardboard containers. Kiewa Valley dairy herds had marked bottles bearing "90/9", "6/18", "6/33", "6/35" and "6/36"This heavy gauged glass milk bottle has a rim and a distinctive head at the top. This head has been manufactured to facilitate the movement of the bottled along the milk production line. The method of pouring milk into the bottle has been part of the "production line". This bottle has a one pint capacity and is made from "light green" coloured glass(a protection against sunlight penetration). There are other milk bottles that do not have a "green" tint in them. This thick glass bottle to contain milk required its thickness because of the extensive handling before final consumption. Milk was delivered by the "milk man" direct to the homes of consumers. During this period delivery to homes in cities and towns was made initially by horse and cart and later by truck.On the bottom end of this bottle a circle within it 6/33 and next to this "ONE PINT" and under this "THIS BOTTLE BELONGS TO MILK BOTTLE RECOVERY LTD" and below this "AND CANNOT BE USED WITHOUT WRITTEN PERMISSION" on the base "M" underneath this "4"glass bottles, commercial milk containers, domestic milk bottles, pasteurized milk bottles

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’, does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size from a visual appraisal. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history.A Morgan’s Patent graphite crucible No.8 (i.e. 8kgs capacity), one of a set. It was recovered from the wreck of the LOCH ARD. It is in its original grey colouring with minimal sediment accretion on the top rim. It rises in a slight curve from a flat circular base to a wider rim with a pouring lip. Maker’s marks on the side of the container clearly identify the manufacturer. The maker's details are stamped into the base around and within a circle. A white sticker is attached. Made by the Patent Plumbago Crucible Company at the Battersea Works in London. Number “8”. Letters “MORGAN’S PATENT”. Details on the base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Symbol [8] above "BATTERSEA WORKS LONDON" Handwritten on a white sticker in black pen "LA/89"flagstaff hill, warrnambool, maritime museum, shipwreck coast, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, graphite crucible, plumbago crucible, morgans crucible company, flagstaff hill maritime museum and village, fluxing pots, crucible, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, port campbell

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity in foundries and expansion of demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. The summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’, does not mention any crucibles, implying that they were not a large consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size from a visual appraisal. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known ahipwrecks in Victoria’s history.A Morgan’s Patent graphite crucible No.4 (i.e. 4kgs capacity), one of a set of three. It was recovered from the wreck of the LOCH ARD. It is in its original grey colouring with minimal sediment accretion on the top rim. It rises in a slight curve from a flat circular base to a wider rim with a pouring lip. Maker’s marks on the side of the container clearly identify the manufacturer. The maker's details are stamped into the base around and within a circle. A white sticker is attached. Made by the Patent Plumbago Crucible Company at the Battersea Works in London.Number or. Letters “MORGAN’S PATENT”. Details on the base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Symbol [4] above "BATTERSEA WORKS LONDON" Handwritten on a white sticker in black pen "L89"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, graphite crucible, plumbago crucible, morgan's crucible company, flagstaff hill maritime museum and village, fluxing pots, crucible, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, port campbell

The photo encompasses what is present-day University Hill shopping complex and the Janefield Wetlands. Plenty Road is just visible to the left of the photo. Janefield was an area 18 km north-east of central Melbourne that is now part of Bundoora. In 1842 a flour mill, powered by the Plenty River, was built at Janefield, although the locality was not known by that name at that time. It seems that the name Springfield was used in the late 1840s, after a Springfield homestead, and this was changed to Janefield possibly upon the death of Jane Brock in 1847. She was the wife of James Brock, a local landowner and son of the purchaser of the flour mill. This photo is not strictly within the area of interest for EDHS but overlaps do occur at times with other Society’s interests through families and other associated connections. Eltham District Historical Society member (and Greensborough Historical Society member), Peter Van Eeken was undertaking research into this photo and approached the Local History Librarian at Yarra Plenty Regional Library to enquire about digitising the large print copy to facilitate research. Approaches were made to EDHS who had suitable facilities and were willing to accommodate and all parties agreed to add the image as part of their respective collections in partnership. Michael Lanigan, started work as a message boy at Mont Park when he left school at age 14. He worked his way up the system to become farm manager at Mont Park and Janefield Special School. He was one of the last people to drive a herd of cattle (in 1964) between the two locations along Plenty Road. He retired when the school closed around 1993. Mick pointed out the location of three remnant farm houses of the 1800s. The Brock House being the main one. Peter has been unable to find any photos of the Brock House, which what built in the late 1850s, severely burnt in the 1930s and demolished in the mid 1960s. The tree plantation along Plenty Road was established in 1930 and cut down in the mid 1980s. The Victorian Government established tree plantations at about 350 schools in the early 1930s. Briar Hill School had one but Peter is not sure about any other local schools having a tree plantation. Mick informed Peter that it was his job to remove the 14 acres of pine tree roots, after the trees were cut down (due to old age and an infestation of sap sucking insects). For Mick, this was an impossible job, so he arranged a contract, to house all the soil removed from works associated with the construction of the Greensborough Bypass, which needed temporary storage as it was too valuable, and would be great for use in road construction. The contract to store the soil was important to Mick, as the contract stipulated that when the soil was eventually removed, the tree roots had to be removed too. Which got rid of Mick's headache. Apparently, the huge mound of soil that covered the roots in the late 1980s could be seen from Briar Hill. Based on this, the photo is most likely to have been taken 1982 or 1983. The key to a final date is working out when the Board of Works Office opened but so far no information has come to light. (It was purchased by La Trobe University in 1991). The Office existed, or is hinted at, in the photo at the extreme north of the photo, opposite McKimmies Road, on the eastern side of Plenty Road. Photo on loan from Michael Lanigan via Peter Van Eeken. He cannot recall why it was taken. brock family, janefield, janefield drive, janefield wetlands, plenty road, university hill

This jacket was part of the working uniform of the Warrnambool Urban Fire Brigade in the mid 20th century. It belonged to John (Jack) Sizeland, a member of the Fire Brigade for over 37 years. He retired in 1977. Prompted by a fire at the Flying Buck Hotel in Liebig Street the Warrnambool Fire Brigade was established in the mid 1860s. It has been successful in Victorian Fire Brigade Championships over the years, especially in the 19th century. It is currently situated in Mortlake Road. This jacket is of interest as an example of the clothing worn by firefighters in Victoria in the mid 20th century. It is also of interest because it was worn by Jack Sizeland, a local firefighter for over 37 years. This is a black double-breasted cloth jacket with six brass buttons down the front and two brass buttons on the lapels. The buttons are impressed with a shield and the words ‘Country Fire Authority Victoria’. There are two brass clips on the side to hold a belt. There are two black and red cloth attachments at the top of each sleeve (‘Warrnambool Urban Fire Brigade’). There is some black cloth lining inside the garment across the shoulders. The maker’s label, ‘David Lack Pty Ltd, Melbourne’ is on the inside collar. ‘David Lack Pty Ltd Melbourne’ ‘Warrnambool Urban Fire Brigade’ warrnambool fire brigade, jack sizeland, history of warrnambool

This belt was worn with the jacket issued to members of the Warrnambool Fire Brigade in the mid 20th century. The jacket was part of the uniform that served both as a dress uniform and a work uniform. The Warrnambool Fire Brigade was formed in 1863 following unsuccessful attempts to establish a permanent fire service in the town. It was prompted by a fire at the Flying Buck Hotel in Liebig Street. The Warrnambool Fire Brigade, now located on the Mortlake Road, has been successful in Victorian Fire Brigade competitions and demonstrations, particularly in the 19th century. The owner of the belt and uniform was John (Jack) Sizeland, a member of the Warrnambool Fire Brigade for over 37 years. This belt is of interest as it was part of a Warrnambool Fire Brigade uniform during the second half of the 20th century. It also has individual local provenance as it belonged to Jack Sizeland, a member of the Warrnambool Fire Brigade who retired in 1977 after 37 years of service. This is a brown leather belt with a gold metal buckle and nine punched holes on the buckle, two of them hand-punched. It has a leather attachment to keep the belt end in place. It has the name of the owner, John Sizeland, written in biro on the inside of the belt. This belt is meant to be worn with the Warrnambool Fire Brigade jacket with the brass buttons. ‘J. Sizeland, W’bool’warrnambool fire brigade, jack sizeland, history of warrnambool

This is the Eighth Reader in the series of school readers introduced in 1928 for the Education Department of Victoria and used extensively in Victorian schools in the early to mid 20th century decades. This copy was in use as a Form Two (Year 8) class set at St. Ann’s College, Warrnambool in the 1970s .This book is of general interest, being the final book in the series of school readers that were in widespread use in Victorian schools from the late 1920s to the 1950s. The book is also of interest because it was used at St. Ann’s College, Warrnambool in the 1970s and has the signatures of nine pupils who used the book at that time. St. Ann’s College, the Catholic secondary school for girls in Warrnambool in the 1970s, is now incorporated into the co-educational Catholic secondary school in Warrnambool – Emmanuel College. This is a hard cover book of 260 pages. It has a Contents page, an Acknowledgments page, reading material of prose and verse, including extracts from books of well-known authors and Notes and Explanations at the back of the book. The cover is brown with the emblem of the Education Department of Victoria on the front. The book is missing its spine covering. The book has many black and white photographs and sketches. The inscription and signatures on the first page are handwritten in black, blue and red ink.‘Form Two St. Ann’s College’ victorian school readers, history of warrnambool

This book contains passages from literature for use in the teaching of Pitman’s shorthand. Isaac Pitman (1813-1897) was an English educator who invented in 1837 the shorthand system named after him. Pitman’s shorthand was the most widely used shorthand system in the 19th century and early to mid 20th century. Pupils studying commercial subjects learned Pitman’s shorthand until it was replaced in the second half of the 20th century in Victorian State schools by Dacomb’s shorthand system. No information has been found on D. McK. Vickers.This book is of interest as an example of the type of shorthand text books used early in the 20th century. It is useful for display.This is a soft cover book of 63 pages. It has a green cover with blue binding and black printing on the front cover with a printed signature of Isaac Pitman enclosed by an ornamental border. The back page has printed information about other Isaac Pitman books. The front cover has a circular black and green label pasted on. The pages are slightly detached from the binding. The inscription is handwritten in black ink and pencil.‘D.McK. Vickers’ pitman’s shorthand, history of education

This is a school literature text book for senior students in Victorian schools in the early to mid 20th century. The editors are Isabella Marshall and John Lyall. Text books such as this one were mass produced and focus on the poems to be studied with a cheap and unattractive format. No information is available on the owner of the book, Ben Knapsey.This book is a good example of the texts used by senior students in Victorian schools in the early to mid 20th century and is retained to be included in our library collection of vintage school text books.This is a soft cover book of 132 pages. It is a school text book for senior classes. It has a blue cover, now faded, with dark blue printing. The pages contain a preface, an introduction, selections of Robert Browning’s poetry, and notes and questions. There are some advertisements for other school text books.Ben Knapsey Form 1Vschool texts in the mid 20th century, history of warrnambool

This piece of music, ‘First Love’, dates from the 1850s and was composed by Henry Farmer (1819-1891). Born in Nottingham, Farmer was an organist and composer and conductor of the Nottingham Harmonic Society from 1866 to 1880. He dedicated this music to Miss Hal Chaworth Musters. It is not known who ‘Miss Hal’ was but the Chaworth name was an ancient one in Nottingham and marriage with a member of the Musters family brought into being the name ‘Chaworth Musters’ and the estates included Annesley, Edwalton and Wiverton. The signatures on the front cover indicate that this music is connected to two early families in the district. Stephen Henty owned Cadnook (Kadnook), near Harrow, in the 1850s and sold it to Mordaunt Smalpage (or Smalpaige) in July 1859. Stephen Henty, who came to Victoria in 1836, was the brother-in-law of Captain Helpman, the Warrnambool Harbour Master from 1861 to 1869. They were co-owners of the ‘Champion’ which plied between Portland and Melbourne until it was wrecked off Cape Otway in 1857 when it collided with the ‘Lady Bird’.This is a most significant item because of the signatures on the front cover. Stephen Henty was important, not only in the history of Victoria, but also in the history of Warrnambool because of his connection with coastal shipping and his relationship with Captain Helpman. As far as we know the Hentys never lived in Warrnambool but it is possible that this music was played on the ‘Henty’ piano that was donated to the old Warrnambool Museum in 1889 and is now in the Warrnambool Art Gallery. The Hentys brought six pianos to Victoria in 1837. The music is also important in social history as an example of the music that was played in mid-Victorian drawing rooms. This is a piece of music of seven pages printed back to back (cover and 11 pages of musical notation) The pages have black printing on white with a multi-coloured front cover. The cover has a stylized portrait of a man and woman in period costume. The woman is holding an urn of flowers. Some of the pages are loose and the page folds and corners are tattered and torn. The name ‘Smalpaige ‘is written in ink and the name ‘Henty’ is written in pencil. Front Cover: ‘Mrs Smalpaige, Cadnook, 8th Aug/59’ ‘S.Henty, 8 August 1859’ ‘First Love’, ‘Valse dedicated to Miss Hal Chaworth Musters by Henry Farmer, London, Published by Joseph Williams, 123, Cheapside, Solo, 4, Duet, 4, Septett, 3/6, Full Orchestra, 5/-, Ent. Sta. Hall.’ stephen henty, mrs smalpaige, warrnambool, first love sheet music, history of warrnambool, henry farmer

This piece of music was composed by Joseph Summers (1839-1917). The date of the composition is between 1863 and 1866. The brother of Charles Summers, the sculptor, Joseph Summers was born in England and came to Australia in 1865. He was an organist and composer, an Inspector of Music in schools and in charge of music examinations conducted through Trinity College, London. In 1897 he moved to Perth. The signature of ‘Miss Jessie Webster’ presents a problem as no information has been found on this person. This is a most significant item because of the date, 1866, and the name, ‘Jessie Webster’. But it is not known if the music has any local provenance. The item also has social significance as an example of the type of music played in mid-Victorian drawing rooms. This is a piece of music of four printed pages of musical notation. The cover of this music is missing. The paper is white with black printing and all the pages are much mottled and stained. The edges of the pages are ragged and torn. There is some pencil scribble on the first page. A name and a date are written in black ink on the first page. ‘Miys (Miss) Jessie Webster, November 13th 1866’jessie webster, joseph summers, warrnambool

These badges reflect various aspects of life in Australia and the many allegiance which people have to organisations from the Country Womans Association, to football clubs, with groups such as the Industries Protection league and Temperance groups such as the Band of Hope Union espousing interests and ideas in the early to mid 20th centurySocial significance001048.1 CWA badge Round metal badge with dark green rim surrounding monogrammed shield and gum leaf on either side. Victoria in bronze at top of shield. Stokes **** Melb on rear. 001048.2 British Red Cross. Round tin badge with Union Jack flag and red cross on left with text in banners below flag. 001048.3 Victorian Badge of Hope Union. Small button badge with cream background, brown text around edge with image of mother and child in blue tones in the centre 001048.4 St Kilda Football badge. Round tin plastic coated. White background with image of saint emblem on front on background of club colours. 001048.5 Coles Badge. Large button badge with bright blue background with image of lady in black and white in the centre. Text in black. 001048.6 Industries Protection League. Small cream plastic badge with outline of Australia inside a star. Brown boomerangs top and bottom. 001048.7 Junior safety Council. Oval metal badge. Black with brass text and artwork. 001048.8 S.S. Persis. Three dimensional with ship’s wheel at back in white and Australia and British flags in foreground with S.S. Persic on banner below flags. warrnambool history, industries protection league badge, band of hope union badge, s s persic badge

This Pie Iron was used in the mid to late 1900's when stock, both cattle and sheep, were grazed on the Bogong High Plains. Providing meals for stockmen over open fires, even in log cabins in the Victorian Alpine region, was usually by a "camp cook" or a stockman designated "cook" from the Valley station/property. The use of "camping cooking utensils were a necessity and not a "weekend" affair. Stockmen could spend up to six weeks on the plains and all their cooking needs required had to "pack horsed" from the valley below. A scientific study started in 1947, to study the impact of grazing cattle on the natural Alpine and sub Alpine vegetation found grazing cattle had an adverse affect on the natural Alpine and sub alpine vegetation, and grazing on the plains was stopped by the Victorian Government in 2005.This item is highly significant to the Kiewa Valley as it demonstrates the kind of cooking utensils that were required for camp drafts in the Bogong High Plains environment. As the control of cattle and sheep in the High Plains was very demanding upon horse and rider, good "tucker" was a pre- requisite for a successful operation. As the time spent in this remote location was governed by the climatic condition maximum utilisation of the very good pastures in the High Plains was crucial to a successful and profitable season.This pie iron has two pie forms in horizontal configuration and both top and base rounded forms are connected at one end (Top) with pop rivet application. This application allows for the "opening" up of the two halves. The bodies are made from cast iron in a "cup" form and a metal rod and wooden handle extend to permit the opening of the two sides. The inner side of the "cups" are smooth which relates to pie requirements and not the jaffle/sandwich irons. A clasp metal "D" ring is installed at the end of one wooden handle (to keep the iron in the close/cooking position).camp fire cooking utensils, hot plate, cast iron cooking appliances, pie irons, jaffle irons, drovers kitchen

This book follows on from the revised edition of "First Two Years Geometry" and contains all the geometry for the intermediate certificate and trigonmetry included in the syllabus during the mid 20th century. This would have been used by students of the Kiewa Valley.This book show us the type of maths that was taught in Victorian schools in the mid 20th century. Students from Mt Beauty Elementary High School would have used this book. Therfore has historical and research significance. The book has the name G Davies, which is a local family and therefore has social significance. As this is part of our school book collection it has good interptive capacityThe book has a brown cover with light brown striped pattern along the edge of the front cover. Black writing on front for name and light brown writing stating author and publisher. Has a light brown gemonetry pattern on front cover and logo of printer on each corner.Name of G Davies Form 111 in red pen on inside page.book, school, geometry, educational, math, mt-beauty-elementary, wilma davies