Colour slide in a mount. Image from a magazine, 278 Cotham Road, Kew, Victoria, Australia, 1902 (demolished in the 1970s) . (Architect: Robert Haddon.)Made in Australiamelbourne, slide

These photographs were taken at a Corps Day parade held at the Army Survey Regiment, Bendigo on the 29th of June 1984. The Colonel Commandant (honorary appointment) of the Survey Corps - COL Clem Sargent (Retd), presented the Defence Force Service Medal to retired WO1 Dave Malligan and SGT Bill Friswell, in recognition of 15 years of efficient remunerated service.This is a set of 36 photographs of a Corps Day parade and the presentation of the Defence Force Service Medal, held at the Army Survey Regiment, Bendigo on the 29th of June 1984. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) to .36) - Photos, black & white, 29th of June 1984.1P to .36P – There are no personnel identified. The occasion and date are annotate on the negative sleeve stored in Folder 4 Box 278.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

This is a book of 278 pages. It has a yellow cover with black printing, an image of a country home and surrounds and a photograph of the author. The pages contain printed material and black and white photographs.non-fictionThis is the story of the lives of David Jellie and his ancestors. It contains the history of the Cassady, Bligh, Jellie and Rankin families and other associated families in Warrnambool, Colac and Geelong.family history of david jellie, early western district settlers

Black and white photograph. Brick building (corner in Inglewood). The State Savings Bank of Victoria. Car in laneway at L. On back: MP 278 (copy 1); , RHSV stamp, 94Alan Doney (ref. J Lerk 10/3/2000buildings, bank, state savings bank of victoria, see also: 2000.551.01 (copy), 2000.554.01

A studio portrait of Prudence Partington of Greensborough. the family lived at Willis Vale from the 1870s.One of many studio portraits of the Partington familySepia studio portrait of woman in dark dress and bonnet, seated and holding a book. flowers to her left. Mounted on white card with studio name: M.Allan 278 Smith Street Collingwood..On back: Prudence Partington. Born 1858-1930.willis vale, partington family, prudence partington

Set of eleven colour slides (Kodak) showing the removal of tram track in Geelong, c May 1979. All in Pakington St., Newtown, ex Newtown route. 2268.1 - slide 29 - look south from the north of Retreat Road. .2 - 30 - No. 276 in background, looking south .3 - 31 - City of Newtown Town Hall in background. .4 - 32 - opposite to that of No. 29. .5 - 33 - Looking south .6 - 34 - looking south with Aphrasia St. in the background. .7 - 35 - as for .2 .8 - 36 - Opposite No. 278, looking south .9 - 1 - opposite No. 276/278. .10 - 2 - ditto .11 - 3 - Outside No. 278, looking south. Bus stop still in position. See Letter to Dave O'Neil and responses.tramways, trams, geelong, track removal, pakington st, newtown

Dark green linen hard cover book with black embossed decoration on the cover and a arch shaped panel of blue, white, pink, red and green flowers. Gilt stamp on the front cover and gilt text on the spine. 278 pages. Black and white illustrations. Biographical sketches of female missionaries by Mrs Emma Raymond Pitman. non-fictionlondon missionary society, female missionaries

2 Small Jewellers Box lids / green label on red box lid in gold lettering -'J.M.Leech watchmaker & Jeweller 278-80 Hargreaves St Bendigo / contains 2 pieces of Costume Jewellery - 1 Rhinestone Hair Clip , 1 small gold badge in shape of 4 leaf clover with picture of male in wig.costume accessories, jewellery, 'j.m.leech watchmaker & jeweller 278-80 hargreaves st bendigo

Student handbook outlining subjects offered to Year 7 students.An annual publication, updated as regulations and subjects offered change. This gives a snapshot of Watsonia High School, Year 7, in 1985.In-school produced A4 Size booklet containing information on Year 7 (old Form 1) class subjects; curriculum books; school fees and Important Dateswatsonia high school, student handbooks, course information

A work crew at the Plantation rd working on pine plantations in this areapeople, road gang

Written on backing sheet, 'Latrobe Librarian, Ken Horne launching History of Ringwood, Civic Centre, 22.10.74.'

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic. Crack on side. Badly stained.Backstamp very faint and unable to be read.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, mixing bowl, food preparation, kitchen equipment, ceramic

Womens Forage Cap, Air Hostess style.headgear, 1978, raaf

Black and white photograph of original. Large excavation in foreground. Weatherboard building at left with wood pile and brick chimney. 3 poppet heads in middle distance. 1 poppet head on horizon. Total of 4 chimneys visible. Im inage on original photo ' …. Reef near Ironbark Hill' In margin at bottom ' Mr. Lansell's No. 180 claim/North Old Chum/Victoria and New Chum/Old Chum Claim'Original photo by N.J. Caire, 1875, looking south New Chum or Victoria Reef'organization, business, lansell's 180 claim

Copies of the Lyle radiograph (see below) are on file with the letter (9Sept 1982) from J F Richardson (Australian Radiation Laboratory, as it was then called) detailing the description of the reproduction as follows: RADIOGRAPH OF PROFESSOR ORME MASSON'S FOOT! MOST PROBABLY THE FIRST RADIOGRAPH TAKEN IN AUSTRALIA. TAKEN BY PROFESSOR LYLE ON MARCH 3RD, 1896 USING A CROOKES DISCHARGE TUBE OF HIS OWN CONSTRUCTION

The Sailors and Soldiers Fathers' Association was established in the First World War and appears to have had branches in most states. The group was active (and often outspoken), involving themselves with hospital visits, repatriation issues, employment of returned servicemen and the establishment of returned servicemen’s rights relating to principles such as pensions and housing. There appears to be a close co-operation between this group and the Returned Sailors and Soldiers Imperial League of Australia in forming a group with strong lobbying abilities. Similarly, they were active in raising funds to build Memorials after the war. The Association remained active after the First World War in pursuing returned soldiers’ rights. They appear under a slightly different name during the Second World War (Sailors, Soldiers and Airmen’s Fathers' Association) but their goals were identical........The Sailors and Soldiers Fathers' Association, established during the First World War, was active in fundraising, establishing memorials and advocacy for issues such as the repatriation and employment of returned servicemen. The group worked closely with the Returned Sailors and Soldiers Imperial League of Australia, now known as the RSL.Round bronze and enamel badge badge with blue circular border enclosing a white and red diamond. Crown on top. In white border: "Sailors & soldiers Assoc.n of Vict." In red diamond: "Fathers" On back: "167 / Stokes Melb."badge, sailors and soldiers association of victoria, sailors and soldiers fathers' association

Sewing Kit issued to soldiers during WWI . . commonly known as the 'Soldier's Housewife' Tag attached - "A gift from Queensland Christian Science War Relief Fund with Best Wishes. c/o 273 North Quay, Brisbane, Qld, Australia"first world war (ww1), 1914 - 1918, equipment/gear, ballarat rsl, ballarat

Photocopies of original newspaper clippings from the Ballarat Courier. Originals of cuttings held - see notes below. 278.1 - "Tram makes farewell trip" - photo of No. 43, near dusk on Mt. Pleasant route, fire station in background. - Sunday Sept. 5, 1971. - Courier Monday 6/9/1971 - A4 sheet. - (See Reg. Item 2907 for actual copy of cutting) 278.2. - "Last Journey for 39" - report on tram 39 last trip to Mt. Pleasant by Judy Graham - page 1 of Courier, 6/9/1971 - A4 sheet. - See Reg. Item 2908.1 for actual copy of cutting and 2908.2 for 2nd part on page 2. 278.3 - "Tram Change Uneventful" - report in the Courier of 24/8/1971, day after buses started on Victoria Street and photo of overhead dismantling (A4 sheet). - See Reg Item 1065 for actual copy of the cutting. 278.4. - "Many will miss tram" - report in Courier, Monday 23/8/1971 - following closure of Victoria St. route on 232/8/1971. Photo of No. 31 at Victoria St. (A3 sheet). (See Reg Item 1068 for actual copy of cutting). 278.5 - "Pieces of Tram History" - item in Courier of Wed. 22/9/1971 of tramway Supt. Mr. Denmead, handing over tokens and sample tickets to City of Ballarat - 2 photos - A3 sheet. - (See Reg Item 1846 for actual copy of cutting). Record updated 11/9/2013 for actual cuttings held. See Page 57 of KS Kings, "Ballarat Tramways"trams, tramways, ballarat, secv, closure

Photographworld war i, ww1, anzac, australian expeditionary forces, desert, group

Book

Crooke's Vacuum Tubes

How close were we to full-scale war in Vietnam when Lyndon Johnson succeeded to the presidency in 1963? What course might Kennedy have followed had he not been assassinated?vietnamese conflict, 1961-1975 - united states, united states - foreign relations - vietnam, president j f kennedy, president lyndon johnson, bay of pigs