Doris Lilian Wright of 214 Union Road was a milliner but joined the Australian Women's Army Service (AWAS) in the early war years. The Women’s Australian National Service (WANS) was inaugurated in 1940. Training for members of the WANS included air raid drills, first aid, basic military drills, and even shooting, signalling, and mechanics. AWAS on formed on 13 August 1941 with the objective of releasing more men into forward areas. The Army was particular with its recruiting and four references were required; another stipulation was that teeth were in good condition. Doris was located at Elwood. Their training area was along the foreshore and one day to their great surprise there were crowds of American Marines – "the cream of the American Army". These were the first Americans to arrive in Australia to strengthen the defence of the country. The Americans soon went north and the AWAS went off to Balcombe on the Mornington Peninsula. At this time there were no uniforms for the girls only ‘giggle’ dresses – of a non-descript colour. They were not expected to appear in public in these and wore civilian dress. Japan had just entered the war and there were more urgent demands on restricted supplies. The formal uniforms eventually arrived.A black and white photograph of a lady in an army uniform and wearing a hat.union road, surrey hills, uniforms, clothing and dress, (miss) doris wright, australian women's army service

This sailor's collar is part of a naval uniform. It once belonged to R S Wallace, who served in the RAN (Royal Australian Navy) and on the HMAS Warrnambool for three years. After the war he made several ship models including the sailing ship Cutty Sark. From January 1857 the Australian Navy uniform was formally established. The uniform, referred to as a 'sailor's suit', includes a blue flap collar such as this one. Sailors in the Royal Australian Navy wore collars of this design from the early 20th century. The rating personnel of the Royal Canadian Navy were issued with a very similar collar from 1910 to the 1950s. The blue denim collars were buttoned or died inside their tops with the back and the striped portion of the front flaps showing.The square sailor's collar represents the uniform of a rating sailor in the Royal Australian Navy in the early to mid-20th century, connecting it to the maritime history of Australia and the evolution of the uniform of the navy. The collar is the only one in this museum's collection and is connected to a sailor who service in the RAN on the HMAS Warrnambool for three years.Sailor's collar. A square collar of blue cotton fabric with three flaps or strips. Three white stripes make a border on the outside edges and two flaps; the centre flap that has no stripes. There is an inscription. The underside is lined with white cotton fabric that has thin blue stripes. Tapes are attached for fastening the collar. The Royal Australian Navy collar once belonged to R S Wallace."R.S. Wallace"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, sailor’s collar, sailor’s uniform, uniform, military, navy, ran, royal australian navy, r s wallace, seamen's collar, australian defence forces, naval force, sailor's rig, flap collar, naval collar, robert s wallace, collar, sailor's uniform, world war, hmas warrnambool, sailor's suit

3 photograph postcards of soldier and one photograph postcard of a scene. WW1 Soldiers are from Warrnambool and the group photo could’ve be in the Middle EastBlack and white photographs of soldiers from Warrnambool .1) Formal photograph of a soldier in full uniform .2) photo of sailor in uniform .3) Formal photo of soldier in full uniform .4) Group phot of combination of foreign soldiers and staff outside a restaurant..2) Written on front “Yours sincerely Harry”ww1, middle east, postcards, warrnambool

.1) The Soldier would be WW1 given the Chevrons on his arm. .2) The Soldier appears to be more like WW2.Black and white photographs of two Soldiers in Formal pose. 1. Soldier George Wilson in uniform sitting in a formal pose. Portrait shape. He is wearing 3 chevrons for overseas service on his right arm. 2. Soldier Bob Wilson in uniform in formal pose in chest and head shot and portrait shape and signed on bottom right corner, 1. On the back written,”Uncle George Wilson, Nana Spencers Brother”. 2.On front right corner signed "Sincerely Yours, Bob". On back written "Nana Spencer's brother, Bob Wilson". ww1, photographs, bob wilson, george wilson

1. Taken 1944 at Liverpool base with a mix of men and women including "Beryl Scrimshaw" (Morrel) from British Army. 2. Aug 1944, Liverpool base, formal photo of men and women in uniform and some women in white coats at same location. 3. Women in uniform in WW2 in front of a British Fighter plane. Refer Cat no. 304P & 315.1. Black and white photo, 14 women and 2 men in British uniforms in formal photo in front of buildings. 2. Black and white photo, same location as photo 1, mix of men and women in uniform and some women in white coats. 3. Black and white photo, heavily creased of 6 women in uniform in a field in front of a fighter plane.1. & 2. Both have the stamp of photographer on back and a note saying photo taken in Liverpool Aug 1944. 3. Identification notes written on back and identification of Unit - faded and hard to read.british army, liverpool, uk, ww2

It is believed that the photograph on the obverse side of the postcard was taken in 1918. Depicted are ten Australian male soldiers. Their names are transcribed in pencil on the reverse side of the postcard. Each soldier is dressed in a formal military uniform. It is believed that these soldiers were part of The Australian Imperial Force during World War I. This can be inferred by the chevron rank insignia visible on the uniforms of nine of ten men. The placement of this insignia on the sleeves of their right arms suggests that they were either Warrant Officers or Non-Commissioned Officers (NCO). Specifically, the number of chevron stripes - here, nine men have three - are believed to signify a Corporal rank. The men pictured on this postcard are also wearing 'Rising Sun' collar badges on their coats. Australia, unlike most other Commonwealth countries, did not adopt metal regimental badges during the First World War. All units were issued with the Australian Army General Service Badge, better known as the 'Rising Sun’ badge. This insignia is almost always identified with the Australian Imperial Force. Another characteristic of the Australian Imperial Force uniform are the rectangular colour patches worn by all men on this postcard. In March 1915, a new scheme of unit identification was devised to replace the wearing of unit titles. This consisted of cloth colour patches on the upper arms of a soldier’s tunic. The black and white nature of the record means that we cannot establish which battalion these soldiers were part of. However, one of the handwritten signatures on the reverse side of the postcard reads "W.A. Griggs". This was the signature of Sergeant William Archibald Griggs. Further research shows that Griggs was part of the 5th Australian Division Signals Company. Therefore, it is believed these soldiers were part of the ANZAC Signal Companies. The main role of the Signal Companies during World War I was the laying and maintenance of telephone cables and switchboards, used to connect various units in their area. Furthermore, the man standing in the back row, third from the left side, has an Overseas Service chevron patch on his coat. In January 1918, the Australian Imperial Force approved the wearing of the overseas service chevrons which had been adopted by the British Army. These were embroidered or woven inverted chevrons worn above the cuff on the right arm. Due to a shortage of supply, some men had chevrons privately made. For each year of war service, a blue chevron was awarded, and those men who had embarked in 1914 received a red chevron to indicate that year’s service; however, the black and white nature of the postcard makes it difficult to determine what colours are on this man's patch.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The first significant Australian action of the war was the Australian Naval and Military Expeditionary Force’s (ANMEF) landing on Rabaul on 11 September 1914. The ANMEF took possession of German New Guinea at Toma on 17 September 1914 and of the neighbouring islands of the Bismarck Archipelago in October 1914. On 25 April 1915, members of the AIF landed on Gallipoli in Turkey with troops from New Zealand, Britain, and France. This specific event holds very strong significance within Australian history. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day.Black and white rectangular postcard printed on paper.Obverse: Oh 'Serg!' / Reverse: CARTE POSTALE / 6537 / Correspondance / Adresse / w.a. Grigg / J. Fain / Ruckling / R.J Farrar / (?) / Clarke / L (?) / GFFisher / R. M. Forrest / With Compliments / Sgt's Mess / November 1918 /military album, army, aif, uniform, military, wwi, world war i, rising sun badge, william archibald griggs, anzac, signal companies, postcard, patches, chevron

On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes

Taken in 1924, depicted are eleven young men dressed in school uniform attire standing in the playground of Beechworth State School. This group of young men were part of a farcical play titled "School Days" as part of Beechworth State School Concert series. Beechworth Primary School (formally known as Beechworth State School) was constructed in 1875 by architect Henry Bastow (1839 - 1920). Bastow was the chief architect and surveyor for the Victorian Government’s Department of Education. During his chiefship, over six-hundred schools were constructed across the state which was in response to the Victoria’s Education Act of 1872 legislating free, compulsory, and secular education. Performances such as this “School Days” play were common forms of entertainment within Beechworth up into the early twentieth century. This stems from the goldrush period in Beechworth (1852-1866) when travelling entertainers would tour the goldfields offering performances in singing, acting and circus tricks. These were usually held in a local pub or designated concert spaces, such as the Star Theatre in Beechworth. Entertainment offerings begun to slow down mid-twentieth century when the population begun to dwindle. Many locals took up this responsibility and put on their own plays and shows across the town. This photograph is historically significant as it provides insight into the types of entertainment activities held at the Beechworth School during the early twentieth century. It also demonstrates how students engaged with their school outside of their regular schoolwork. Black and white rectangular photograph printed on matte photographic paper mounted on board. Obverse: W.Howes / Beechworth Concert Party 1924 / State School / Beechworth Cyril Smith (Squidgy) / Keith Prowse / Bill Howes / J. Warde / J. Heatherly (Jumbo) / Gea Foster / B. Shallard (Shinky) / A. Foster / Ernie Smith / Jerry Burns / Ted Warden / School Master / Geo Foster in a Farscial Play “School Days” / Reverse: A03065 / 1997.2520 / 79.19.1 / school uniform, beechworth school, school days", concert series., henry bastow, beechworth primary school, victorian government’s department of education, education, victoria’s education act of 1872, beechworth state school

Depicted are seven unidentified theatrical performers. The male in the foreground is dressed in formal clothing and holding a large, open umbrella. The remaining performers are dressed uniformly in long, dark cloaks.The photograph provides insight into entertainment, performance and recreation in Beechworth during the 1950s. The item's interpretive capacity is enhanced by its strong relationship to other photographs in the catalogue. Collectively, these records enrich the community's understanding of how the arts have developed in Beechworth since the mid-twentieth century.Black and white rectangular photograph printed on matte photographic paper.Reverse: 5658 /entertainment album, entertainment, performance, theatre, theatrical group, performers, arts, recreation

Postcards of day often held actual photos on front side. Re collection of "John Arthur Remington Alexander" No. 2237, AFC, AIF. Refer Cat 7820 for his service details.1. Black and white postcard photo of the streetscape of "The Bargate, Southampton". On the back is a message from "Andy" to Jack (presumably J.A.R. Alexander). 2. Formal picture of rows of serviceman in uniform in front of some buildings. Postcard space on back is empty. 3. 1. Letter to Jack from Andy. 2. Nil. 3. Says "Love to Daddy from Jack" "Baby held pen to sign above".postcards, ww1, john arthur remington alexander

Battle uniform jacket is for less formal circumstance. Belonging to "Peter Stoklahsa" enlisted 1966. Refer Cat 7674P.RAAF blue uniform jacket size 10 OR. Royal Australian Air Force shoulder patches.. Commonwealth emblem patch sewn onto lower arms. Two breast pockets with service ribbon attached above left pocket. Material epaulettes on each shoulder with a black button and gold RAAF Eagle and Crown Emblem. Zipped front with stretch bands on bottom sides. Inside cotton lining. Inside pocket - label of maker on inside.Label - "A.G.C.F. VIC. 1981. 8405.66.103.8063 Size 10 OR. Service No. Cleaning instructions. raaf, uniform, peter stoklahsa

The Grinton Collection. 38th Battalion Sergeants at Busmenard France. Identified - Back row - No. 1043 Sgt John (Jack) William GRINTON (left). No. 262 CSM William John DURWARD (right). Third Row - No. 1612 Sgt John Edward ADAMS (2nd Left). Second Row - No. 446 CSM Andrew CLARK (2nd Left). No.1129 Sgt James COFFEY (3rd right). No.1194 Sgt John (Jack) Henry LOCKETT (2nd right). Front row - No.1048 Sgt Frederick Martin LEHMANN 'MM'(left), No. 1645 Sgt William James HOGAN (3rd left).Photograph framed. Photograph - black and white photograph on paper depicting a formal group portrait of Battalion Sergeants in uniform standing and sitting. Background - building wall. Frame - timber, light varnish finish, Perspex front, cardboard backing."Group 4: Portraiture and Remembrance" "b. 38th Battalion Sergeants - Busmenard". framed accessories, camera on the somme, ww1, 38th bn, grinton, busmenard

This blazer would have been worn by a member of the Warrnambool District Football Umpires Association at formal and social occasions. This Association was founded in 1946 and continues today, providing umpires for football matches in the Warrnambool District including the Hampden Football League.This uniform came from a Collectables Shop in Fairy Street, Warrnambool but the original owner is unknown. The blazer is a memento of a Warrnambool sporting group of interest and would be useful for display.This is a black cloth blazer with beige and black bands on the sleeves and pockets. It has one silver coloured button and one missing at the front. Inside the blazer is black lining at the top. The sleeves have a white and black pin striped lining. The pocket has the Association badge embroidered with beige and tan. There is a maker's label inside the front collar and a loop for hanging the blazer on a hook.PURE WOOL Ince Bros. Melbourne Tailors and Blazer Specialists. W.D.F.U.A. WARRNAMBOOL DISTRICT FOOTBALL UMPIRES ASSOCIATION FOUNDED 1946uniforms, warrnambool and district football, warrnambool district football umpires association

Photo 1. Photo of B Troop taken 10 Aug 1944 of Air Defence Battalion. Royal Artillery British Arm tasked with defence of bases. Mix of male and female soldiers. Photo 2 - Photo of members of 541 AA Battery, 158 Regiment taken 10 Aug 1944, taken at Raby, Cheshire. mix of male and female soldiers. Related to Beryl Scrimshaw (Morrel). Refer Cat 304P, 315.Photo 1. - Black and white original photo (formal) of members of Air Defence group (158 Reg,./30th Brigade). Taken in front of a Nissan Hut at Whitlew Bay, Newcastle. Mix of men and women in uniform. Photo 2 - Black and white original photo of members of Air Defence Unit. Photo taken in a field. Large number of men and women in uniform taken at RABY, Cheshire.1. Name of unit (541H (m) RA BTY, 158 Regiment/ 30 Brigade) Date taken, location and some other notes. 2. Notes on back of identity of unit (B ..... Royal Artillery) Photo taken (Ruby, Cheshire) and breakdown of location of unit.royal artillery, air defence, british bases, ww2

Photo of an Australian soldier taken in a formal position. No identification but likely WW1.Small black and white photo of a soldier in uniform leaning against a stand and holding a baton under his arm. Photo is on the front of a postcard that had not been used.Written on the back "Lizzie Brown" Imprint on corner of photo - " Kalima", some numbers and "Bendigo".ww1, soldier, post card, photo

These ribbons were worn on the Clarendon Ladies College (CLC) uniform summer and winter hat. The CLC accessories were worn in the 1900 - 1910 era. After 1920 the school changed its name to Clarendon Presbyterian Ladies College and the crest reflected ths change. Prior to the early 1900s students wore dark skirts and white blouses and ribbon ties. Formal photographs taken at Speech Night saw the girls in frilled and lace white dresses. Fragment of navy blue ribbon with white border and fine gold line between white and navy; Clarendon ladies College crest embroidered; the fragment is accompanied by a roll of the same ribbonCLC crestclarendon-ladies-college, hat-band, 1900s, 1910s, uniform, hat

The Ballarat School of Mines is a predecessor institution of Federation uNiversity Australia.Formal photograph of 7 adolescent males wearing the Ballarat School of Mines athletics uniform.ballarat school of mines, sporting, r. mckenzie, athletics, d. coburn, j. jolly, k. whiter, p. fisher, j. blainey, k. bremner

Formal photograph of 11 adolescent males Ballarat School of Mines softball uniform.ballarat school of mines, sporting, softball, n. black, l. cooper, v. overall, o. worthington, e. ditchfield, b. lancaster, m. horsey, l. saunders, l. kinnersley, n. hoffman, a. fry

Dark brown & silver colour timber frame with glass, silver grey coloured mount. Black & white formal group portrait photo of soldiers in uniform of the Reinf 7/38 Batt. AIF. Photo No 117 - 1917. Framed information, photocopy, handwritten in white ink on black paper below photo. Handwritten below photo: “Reinf 7/38 Batt. AIF” “Torpedoed on HMAS Ballarat on ANZAC Day 25.4.1917. These troops when torpedoed upheld the best traditions of the race & their conduct was beyond praise. These were the recipients of the warmest praise from His Majesty The King, General Birdwood KCSI, KCMG, CB CIE DSO; and the Commonwealth High Commissioner, The Hon Andrew Fisher” On printed white label: ALBERT HENRY McKELVIE Enlisted 13.1.1917 REO's 38th Ball AIF, No 3125, aged 21. Embarked 19.2.1917. WIA GSW to arm 5.6.1918. Discharged from the AIF 21.2.1920. McKELVIE is on the R, centre row. Donated by the McKELVIE family. Handwritten in black felt tip pen on back of frame: McELVIE Family.photography - photographs, frame accessories, military history, mcelvie, ballarat, 38th

A framed black and white photograph of a formal dinner at the original Frankston Memorial Hall building (Thompson Street) in April 1940. The photograph is of a mixed group with a number of servicemen in Army uniform and shows the interior of the main hall. The caption on the rear of the photograph notes : "presented to those soldiers who sailed in the 1st convoy, April 1940, who lived in Frankston, by the Frankston RSL" (skip) I. D. Welsh VX4460 2/6 Bn - 17th Brigade.world war 2, ww2, frankston, memorial hall, rssaila,

Formal group photograph of men, women and children in Red Cross uniform outside the Rechabite Hall Greensborough, during World War I.Digital copy of black and white photograph.red cross, world war i, rechabite hall greensborough

This Summer Mess Dress Jacket was made in 1990 there is no information to who is was issued.The Jacket would have been when attending formal mess events during summer. White Jacket with Sergeants Insignia.There are no inscriptions or markingssummer mess dress jacket, australian army, 1990

Black and white photograph mounted on grey frame. 25 mid age police officers in formal setting posing for photograph in 3 row structure [all seem to be influential personalities of Victoria Police - see Inscriptions bellow]. They are all in full 1950s Police uniform, apart from two men on the extremes of front row, who wear suits. They stand in terrace of what seems to be a large and wealthy building on the back, large windows and collums on varandah.Printed above photograph: POLICE COLLEGE << Course No.1 -- November, 1958 - June 1959 >> Printed bellow photograph: Left to Right, Back Row: Stn. Officer Mooney, Sgt. Sheather, Det-Sgt. Carter, Sgt. Poulter, Sgt. Mooring, Sgt. Pearson, Sgt. Comrie, Sgt. Sharkey, Det.Sgt. McKnight. Centre Row: Sgt. Scotney, Insp. Hynes, Sgt. Long, Sgt. Payne, Insp. Houghton, Sgt. Peach, Sgt. Moore, Sgt. Heath, Sgt. Rose. Front Row (Directing Staff): Mr. C. H. Smith, Det-Sgt. Warne, Insp. Quill, Insp. DeLany, Insp. Milner, Det-Sgt. Braybrook, Mr. R. Crowling.victoria police museum, police officers, police academy, police force, william, poulter, bill poulter, police college, tompkins, stuart, stn. officer mooney, sgt. sheather, det-sgt. carter, mr. r. crowling., det-sgt. braybrook, insp. milner, insp. delany, insp. quill, det-sgt. warne, mr. c. h. smith, sgt. rose, sgt. heath, sgt. moore, sgt. peach, insp. houghton, sgt. payne, sgt. long, insp. hynes, sgt. scotney, det.sgt. mcknight, sgt. sharkey, sgt. comrie, sgt. pearson, sgt. mooring, sgt. poulter

Black and white photograph mounted on grey frame. Passport 3x4 photograph stuck on top right of larger photograph - middle age men, unknown. 9 men on photograph are in dinner event. On the far left, possibly former Chief Commissioner Thomas Blamey, on army uniform. Other men are in formal suits, younger looking one in glasses faces the camera cheerfully. 2 men standing on the back, one with piece of paper and the other smoking a cigarette.Handwritten: EP 1victoria police museum, police officers, police academy, police force, victorian police association, police council, blamey, thomas, chief commissioner, sir thomas blamey; chief commissioner of police

This black and white photograph shows the crew of the barque Newfield. They are pictured seated on a grassy slope and rock, a lifebuoy from the Newfield, Liverpool, resting on the men in the front row. The men are formally dressed, some with bowler hats, a bow tie and pipe, rather than in their sailing uniforms. ABOUT THE NEWFIELD The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast. At about 1:30am the Newfield ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile off shore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Peter Carmody was awarded the Bramley Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at Ssea, which he received by mail on January 21st 1893. Flagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck. The Letter accompanying the Medal for Bravery awarded to Peter Carmody is significant because the attempt to save lives is associated with the shipwreck Newfield. Black and white photograph of the crew of the sailing ship “Newfield”. The men in formal dress are seated on rocky slope with the ship’s lifebuoy showing the name “NEWFIELD, LIVERPOOL”. Photograph taken 1889-1892 flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, newfield, photograph, crew of the newfield, 19th century sailing ship, peterborough, cape otway, medal for bravery

Army Formal. Red, Schneider VX104362 (Stored with waistcoat U 115 & trousers U550)uniform, c1950, army

Photograph showing the 32 members of the Leggo's Kazoo Band. Most members are in full costume, several of them are in army uniform and there are three men in formal suits and there is also a small boy with a drum.person, group, cazoo band, leggo's kazoo band