The ES52 Kookaburra is a two seat high wing glider – sailplane of wooden construction designed by Harry Schneider and built Edmund Schneider Pty Ltd. It was first flown on 26 June 1954 and became the glider of choice for training new pilots of many gliding clubs around Australia in the 1950s, 1960s and 1970s. Several found there way to New Zealand. Further two kits were sent to Brazil and at least one of these was finished and flow successfully. The ES52 performed well with a glide ratio of about 22:1 and had soaring and cross-country capabilities. A notable feature of the ES52 design was the staggered side-by-side seating arrangement of the cockpit. This made for good in flight communication between instructor and trainee. Overall, thirty six were built by Edmund Schneider Pty Ltd. A longer wing version (the ES52B) was also introduced that had a better glide ratio (around 25:1). Five examples of this version were built. In Germany a modified ES52 was built incorporating a metal tube fuselage frame and with the addition of a engine driven propeller mounted on top of the wing which enabled the glider to be self launching. This museum collection item consists of the fuselage, tailplane, elevators, fin, rudder from the Mark I, ES 52 Kookaburra, formerly registered as VH-GFF and last owned by the Barcaldine and District Airsports Club of Queensland. The glider was in a damaged condition when it was acquired by the Museum. A decision was made by the Museum to repair the glider for display rather than endeavouring to restore it to an airworthy condition. The reconstruction of the wings is being undertaken by using parts of damaged ES 52 Kookaburra wings (as it happened from later ES 52 Marks). The Log Book for VH-GFF reveals operational life with a succession of gliding clubs around Australia. This exhibit will be of interest to gliding enthusiasts wishing to inspect the popular two seat club trainer of a by-gone era.This is a wood and fabric covered aircraft that is being rebuilt from the components of several aircraft as a non-flying exhibit.Fuselage marked with Edmund Schneider Pty Ltd Serial Number 9 and comes from the glider previously registered as VH-GFF.australian gliding, glider, sailplane, edmund schneider, es 52, kookaburra, barcaldine and district airsports club, victorian motorless flight group, alice springs gliding club, raaf richmond, raaf williamtown, gayndah gliding club, blackwater gliding club, southern downs aero and soaring club, charleville gliding club

This wedding dress was made for an unknown customer by a late 19th and early 20th century Richmond dressmaker known by her married name as Mrs Pamely. The dressmaker’s name is identified on Petersham ribbon on the bodice. (1877 was the first known use of a dressmaker’s name on a dress in Australia). The dress entered the Collection by donation. The donor, Netta Fuller, and her husband Alec, were long-term residents of Kew. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The core of the parade consisted of a collection of 19th Costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. Not satisfied with purchasing authentic costumes of the period, she also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century items of clothing to the Kew Historical Society. Some garments were parts of costumes such as bodices, while others were complete outfits. Many of the latter exhibit signs of old damage, however very few of the costumes have been modified to enable them to be worn in exhibitions. Known provenance is limited to donor information, although some of these donations may have originally formed part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance. This is the only 19th century costume in the Collection where the maker's name and address is known. To date, no other costumes by this dressmaker have been identified. The maker's business activity (1888-1905) allow one to, with an assessment of style, be relatively certain about its late Victorian construction. This adds to the item's significance even though its condition has been compromised by later removals and additions of decorative fabric on the bodice.Cream satin wedding dress comprised of a fitted bodice and a full skirt with a long wide train. Both the skirt and the bodice feature extensive use of ruched silk. Originally the bodice was covered with silk net embroidered with small white flowers. While sections of the net remain on the rear of the bodice (and on the sleeves), that on the front has been removed, probably due to damage. The name of the dressmaker is stamped on Petersham ribbon on the bodice."Madame Pamely, Costumiere, 41 Stanley St. Richmond"wedding dresses, australian fashion - 19th century, women's clothing, dressmakers - richmond (vic), netta fuller, fashion manufacturers - mrs pamely

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long black silk sleeveless bodice with a wide band of lace on the edging and at sleeves. Silk bow at rear. It has been provisionally dated to the 1880s-90s.women's clothing, bodices, fashion -- melbourne -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Late Victorian highly remodelled black silk bodice with pleated silk to neck. The bodice has distinctive sleeves in two sections, the lower part constructed of black lace. The bodice has an original arm pad with makers name in it.fashion -- melbourne -- 1880s, bodices, women's clothing, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured fitted jacket made of silk and lace with added satin ribbons.women's clothing, fashion - melbournesne - 1880s, bodices, jackets, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk velvet, long-sleeved, waisted padded winter bodice with black lace and beading at cuffs and at basque. women's clothing, bodices, fashion - melbourne - 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk and lace bodice.victorian fashion, netta fuller, bodices

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long-waisted black fitted silk and lace bodice with black wooden buttons. The lace at the edge of the bodice may have been added at a later period.day dresses, women's clothing, mourning wear, fashion -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured silk bodice with leg-of-mutton sleeves. Date: ca. 1890s.australian fashion -- 1890s, bodices, dresses, netta fuller

The knitting machine is a recently designed instrument, especially when it is compared with its ancient counterpart, the loom. It enables the creation of many metres of fabric very quickly. A knitting machine is composed of a series of needles which mimic the process of manual knitting. The mechanism engages numerous mechanical elements simultaneously and enables the creation of many metres of fabric very quickly. In addition, a knitting machine can be setup to produce unique bolts of fabric. The density of the fabric may be modified and a knitting machine can produce double-faced effects. A doubled-faced effect creates colour combinations through the introduction of an additional colour to the knitting pattern. This knitting machine is a Coppo brand. It contains over five hundred needles and was produced in the 1960s. It is a representation of the best available in the world at that time. Originating from Italy, it was designed for commercial use. Through both precision and capacity, Italian artisans were seen to be the best in the world of textiles and knitwear. Through emigration, globalisation and the regularly available quantities of wool, Australia came to compete on this stage. The owner of this particular machine migrated from Italy in 1959. When she did, she brought with her a Dubied knitting machine. She later replaced it with this Coppo. When in Australia the owner began work as a piece worker, knitting jumpers and worked for some of the iconic names in the Australian knitting trade including ES Poratt and Alpin Manufacturing. The owner’s role progressed from a piece worker to a wool garment designer and she won many Wool Industry Awards in the 1970s and 1980s. Her high quality of work using and her individual custom designs were spoken about by many of her customers and she had a very large private clientele. She designed and knitted fully fashioned tailored jumpers for people for around 30 years.Knitting table sits on a stand with wide metal legs. Legs contain lettering 'COPPO torino'. Legs are connected via three thin metal poles as well as a metal band and the bed of knitting table at top. The connecting metal band has the lettering 'SUPER - COPTAL' attached. The Knitting table itself contains two beds and a bench at the rear. Attached to the bench is a thin metal structure for the elevation of yarn. It has four crane esk structures above on this metal structure. The bench is covered in a pale grey laminate in the imitation of wood. Attached to the knitting bed is a sliding contraptions containing two handles at the front followed by a complex semi-circle sliding mechanism used to move the knitting mechanism front and back.Left Stand. Lettering: Coppo Torino Right Stand. Lettering: Coppo Torino Centre Stand. Lettering SUPER - COPTALcoppo, knitting machine, design, italy, wool, business, migrants

The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, the skirt portion of this dress (along with the bodice T0004.3) was made for either Elizabeth or Cecilia to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that this dress was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand and machine sewn cream, pale blue, orange and gold embroidered satin formal dress, the bodice dates from circa 1890. This dress shares a skirt with T0004.3, which dates from circa 1840. The bodice features a high scoop neckline with gathers at the base of the scoop and directly below where the bodice finishes creating fullness over the bust. The bodice front encloses the bust with a right panel over the top of a left panel and securing with two hook and eye closures over the left shoulder. The panels are secured together with 15 hook and eye closures. The sleeves are set neatly on the true shoulder and are elongated full puffs to just above the elbow. The fullness is created by nine pleats from the top of the shoulder over the back of the shoulder. At the base of the sleeve the fullness is gathered just above the elbow. At the centre back of the bodice are four inward facing pleats running from the centre neck to the waist. The bodice is secured around the waist with a tape and four hook and eye closures. The bodice is boned around the sides and back of the torso with eight bones. This bodice is finished at the waist with a pleated cummerbund of the dress fabric that is designed to appear to be a sash with two decorative bows. One front left of centre and one back right of centre. The skirt secures at the waist with an opening to the left of centre at the back. The skirt gathers tightly at the centre back with a dart on either side. The skirt has a front central panel and the skirt falls to floor length. At the back, the skirt is also floor length. The back of the skirt may have been modified at some time and may have originally finished in a train. It would be more appropriate to the period of the bodice, and the believed use of the dress with a train.cecilia elizabeth adams, elizabeth emma adams, queen victoria, tower house, woodchester, james smith adams, elizabeth emma mctaggart, sophia charlotte louisa adams, 1890s fashion

A sextant is an astronomical instrument used to determine latitude and longitude at sea by measuring angular distances, especially the altitudes of the sun, moon, and stars. It is a doubly reflecting navigation instrument and used mainly by sailors to measure the angular distance between two visible objects. The name comes from the Latin sextans, or “sixth part of a unit,” because the sextant’s arc can be 60° or 120° of a circle depending on the model used. The primary use was to measure the angle between an astronomical object and the horizon for the purposes of celestial navigation. The estimation of this angle is known as sighting or shooting the object, or taking a sight. This angle and the time when it was measured is used in order to determine Greenwich Mean Time and hence longitude. Sighting the height of a landmark on land can also give a measure of distance from that object. History: The development of the sextant was as an improvement over the octant, an instrument designed to measure one's latitude. The octant was first implemented around 1731-present but can only measure angles up to 45°. As larger angles were needed to allow the measurement of lunar objects - moon, stars and the sun - at higher angles, the octant was superseded by the sextant. The sextant is a similar instrument but better made and allows larger angles from 60° to 120°. This improvement allows distances to be accurately calculated thereby giving longitude when used with a chronometer. The sextant was derived from the octant in 1757, eventually making all previous instruments used for navigational positioning obsolete. The sextant had been attributed to by John Hadley (1682–1744) and Thomas Godfrey (1704–1749), but reference to the sextant was also found later in the unpublished writings of Isaac Newton (1643–1727). Earlier links can be found to Bartholomew Gosnold (1571–1607) indicating that the use of a sextant for nautical navigation predates Hadley's implementation. In 1922, the sextant was modified for aeronautical navigation by Portuguese navigator and naval officer Gago Coutinho. It should be noted that the octant and quadrant are in the same family as they were, and all are, regarded as sextants. The sextant is representative of it's type and although not fully complete it demonstrates how 18th,19th and 20th century mariners determined their latitude and longitudinal to determine their position on a chart, allowing them to navigate there way across the world's oceans. It also demonstrates the skill and workmanship of the early instrument makers that operated scientific instrument businesses from London and other areas of England to provide most of the navigational instrumentation used by commercial and military navies of the time.Sextant with square, fitted box of polished wood, "Hezzanith" brand. Box contains many parts for the sextants use. On certificate "Heath & Co, London. Sextant Number Y 822". Catch on lid "DEFIANT LEVER" and "PATENT NUMBER 187.10". Maker's certificate is attached to the inside of the box.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sextant box, sextant, hezzanith, heath & co, navigational instrument, george wilson heath, astronomical instrument, instrument manufacturers, scientific instrument, navigation, celestial navigation, octant, quadrant, lunar navigation

The 1982 Ford V6 engine, built at the Ford Essex Engine Plant at Windsor in Ontario Canada, was released by Ford for installation in a number of car and light truck models manufactured in Canada, United States, Mexico and Venezula. Production probably exceeded 7 million items. The Australian Gliding Museum’s exhibit was an engine converted for aircraft use that was bought for the Gliding Federation of Australia “Auto-Tug” program from Javelin Aircraft Company in Wichita in USA. “Auto-Tug” was an experimental program sponsored by the Gliding Federation of Australia to equip a glider – sailplane Piper Pawnee PA-25-150 tug with a water-cooled engine to alleviate the costs of running and maintaining the Lycoming engines fitted to Pawnee tugs in Australia. The program began in 1988 and was aimed at obtaining limited certification for converting dedicated glider – sailplane tow planes. The engine equipped with modified intake manifolds produced 198 hp for flight with the same propeller RPM for take-off as the original Lycoming 0-540 engine. However, fuel consumption was halved as the water cooling of the Ford engine enabled quicker descents with throttle closed following the release of the sailplane. Based on the results of GFA’s program, CASA concluded that engine was quite suitable for an aircraft installation and rated it more reliable than the equivalent Lycoming and Continental aircraft engine. The use of the 1982 Ford V6 engine type for Pawnee tug conversions was discontinued when the General Motors LS1 5.7 litre V8 became available. It is understood that a small number of conversions have been done using the LS1 engine. This brief history is based on information obtained from Mike Burns and David Sharples who were involved in the Auto-Tug program from 1988 to 1992. Technical information relating to the 1982 Ford V6 automotive engine is contained in a paper by D.L. Armstrong and G.F. Stirrat of the Engine Engineering Office at Ford. Indicative of technological experimentation in the sport of glidingFord auto engine mounted on mobile standaustralian gliding, glider, sailplane, auto-tug, pawnee, tug, auto, engine, motor, ford, gliding federation of australia, burns, sharples.

The Q class were introduced as bogie flatwagons in the 1870's. Large Q wagons as shown were built to the 1920's In the early 1900's, some Q wagons were modified for Pintsch Gas traffic with a small pump motor cabin at one end and a tank for carrying the gas. Other conversions for traffic were as required. Examples were: sheet glass, skeletal underframes between workshops In 1926 the railways built two narrow gauge Garratt locomotives. As normal wagons were unsuitable for moving these locomotives a special skeletal wagon was built. The engines were split into units for transportation. It featured axle bearings and boxes from steam engines, had hinged buffers that could drop out of the way during loading/unloading. It also featured 'strap' rail along the deck. The wagon was Q 129. This wagon was also available for general narrow gauge rolling stock. Q wagons were numbered from 1 to 136. Service History: *Q 129.VA - 1/ 6/1926 NWS Built new H/brake & drop buffers. For traffic of Narrow Guage stock 31/ 1/1931 NWS Into Workshops - 16/ 6/1931 NWS Out of Workshops (50 days) 6/11/1931 NWS Into Workshops - 27/11/1931 NWS Out of Workshops (22 days) 24/ 8/1936 NWS Into Workshops - 10/ 9/1936 NWS Out of Workshops (18 days) 27/11/1936 NWS Into Workshops - 26/ 2/1937 NWS Out of Workshops (Light repairs) circa 1960 - Photograph SL20 p32, loaded with 7NA / /1975 - Photograph #393 / /1976 - Photograph #553, #554 19/ 3/1979 - Condemned - 10/ 4/1979 - Off Register - 10/ 4/1979 - Sold (to) ETR, Belgrave / /1989 EME Body [GRE]. [SXC]: 29/3/92, MEL127E5, Puffing Billy at station Historic - Victorian Railways - Transporter wagon used to carry and transfer 2' 6" Narrow gauge rolling stock over Victorian broad gauge (1,600 mm (5 ft 3 in) main lines to the narrow gauge lines. Q 129 was unique, it was built to transport narrow gauge locomotives. Transporter Wagon made of Steel and wrought Iron129Q129q, puffing billy, transporter wagon

NC Van The NC guard's vans were originally classed NDD. In the 1910 reclassification they were classified NC. Apart from the windows and height they were externally the same as the NBC vans. Inside there were benches along both side walls. One end was equipped with a small guard's compartment. This had two corner seats, two desks with ticket selling windows and a letter rack. A novel feature was a folding dog cage under one of the benches. Six NC Brake Van / Guards Vans were built by Victorian Railways 1 NC was built in 1909 as NDD and reclassed 1NC in 1910. 2 NC was built and placed into service Nov 1912 3 NC , 4 NC and 5 NC were built and placed into service June / July 1914 6 NC was Built and placed into service in 1919 1 NC, 4 NC and 6 NC were all scrapped by Victorian Railways between 1954 and 1957 Van 5NC - Brake Van (4 ton capacity) In Active Service - Belgrave Station Yard VR Service History: 5 NC *NC 5.VA - 31/ 7/1914 NWS Built new - / 6/1926 - Modified AC Malco 16/11/1932 NWS Into Workshops - 9/12/1932 NWS Out of Workshops (24 days) 23/10/1935 NWS Into Workshops - 19/11/1935 NWS Out of Workshops (28 days) 10/ 8/1939 NWS Into Workshops - 8/ 9/1939 NWS Out of Workshops (30 days) 2/ 6/1944 NWS Into Workshops - 25/ 8/1944 NWS Out of Workshops (85 days) 21/ 4/1949 NWS Into Workshops - 14/10/1949 NWS Out of Workshops (178 days) Dec 2016 - Puffing Billy Register of Rolling Stock NC 5 Brake Van (4 ton capacity) - In traffic Historic - Victorian Railways - Narrow Gauge Rolling Stock - NC Brake Van Victorian Heritage Register (VHR) Number H2187 The Puffing Billy Rolling Stock CollectionBrake Van (4 ton capacity) made of Timber and wrought iron5NCpuffing billy, 5nc, 2'6" gauge, victorian railways, 5nc brake van

NC Van The NC guard's vans were originally classed NDD. In the 1910 reclassification they were classified NC. Apart from the windows and height they were externally the same as the NBC vans. Inside there were benches along both side walls. One end was equipped with a small guard's compartment. This had two corner seats, two desks with ticket selling windows and a letter rack. A novel feature was a folding dog cage under one of the benches. Six NC Brake Van / Guards Vans were built by Victorian Railways 1 NC was built in 1909 as NDD and reclassed 1NC in 1910. 2 NC was built and placed into service Nov 1912 3 NC , 4 NC and 5 NC were built and placed into service June / July 1914 6 NC was Built and placed into service in 1919 1 NC, 4 NC and 6 NC were all scrapped by Victorian Railways between 1954 and 1957 2NC - Brake Van (4 ton capacity) VR Service History 26/11/1912 NWS Built new 2 NC *NC 2.VA - 26/11/1912 NWS Built new - circa 1926 - Modified AC Malco BO 6/ 7/1932 NWS Into Workshops - 5/ 8/1932 NWS Out of Workshops (31 days) 2/10/1937 NWS Into Workshops - 3/12/1937 NWS Out of Workshops (63 days) 25/ 1/1945 NWS Into Workshops - 23/ 2/1945 NWS Out of Workshops (30 days) Dec 2016 - Puffing Billy Rollling Stock register Puffing Billy Service History or Notes 21 Oct 1995 - Loco 7A and 2 NC collides with trolleys NK 3, Jenny, & NG 1 on the SELBY side of the MONBULK CREEK trestle bridge. Historic - Victorian Railways - Narrow Gauge Rolling Stock - NC Brake VanBrake Van (4 ton capacity) made of Timber and wrought iron2NCpuffing billy, 2nc, 2'6" gauge, victorian railways, 2 nc brake van

A copy of the Act of the Victorian Parliament relating to the property held in trust for Junior Legacy, Melbourne. It mentions that Richard Goldsmith of the United States wanted to mark his appreciation of services rendered in Australia to the armed forces of USA during World War 2 and in memory of the late David H Dureau. The company BG Corporation (of the USA), of which he was president, gave a gift of £27,059 to Junior Legacy Club of Melbourne for the purchase and fitting out of premises for the use of the club in its principal object of the care and welfare of children of deceased servicemen. Also that the building be perpetually known as the "D H Dureau Memorial Building". The first building that was purchased with the donation was 342 Swanston St, however it was found unsuitable and this Act allowed it be sold and a new building be found (293 Swanston St). The Act was cited as "Junior Legacy Melbourne (Dureau Memorial) Act 1953". The hand written note says that the Act "tells a story", is possibly part of the notes made when compiling the history of Legacy. They were in a folder of documents about the history of Legacy. Appears to have been mostly compiled by Legatee Cyril Smith as he has many hand written notes on miscellaneous pieces of paper (some are envelopes addressed to him). The notes were typed up into a summary of the History of Legacy. Also documents relating to the first time Legacy approached the public for donations in September 1956, including newspaper articles that were reprinted, a schedule of information that was approved to be released to the press, and a list of potential donors that was circulated to Legatees in the hope they could contact the ones they knew personally or professionally. The call for public donations was partially due to the purchase of the Dureau building and the need to modify the building for Legacy's needs. The documents from this folder have been added in separate records (see 01262 to 01281). The folder was part of an attempt to capture history of Legacy, generally from the 1950s. See also 01284 - Title deed of Legacy HouseThe documents provide an insight into the working of Legacy, especially in the 1950s. Legatee Cyril Smith and others were detailing their experiences and knowledge for the future.Four page copy of an Act of the Victorian parliament relating to the property held in Trust for Legacy and a hand written note.Hand written on the note: "This Victorian Act (No 5717, 1953) tells a story:"properties, dureau house

An Octant is a doubly reflecting navigation instrument used primarily by sailors to measure the angular distance between two visible objects and was a forerunner of the sextant. The name comes from the Latin octo, or “one-eighth of a circle,” for the Octant’s arc which spans 45°, or one-eighth of a circle. The primary use of an Octant is to measure the angle between an astronomical object and the horizon for the purposes of celestial navigation. The estimation of this angle is known as sighting or shooting the object, or taking a sight. The angle, and the time when it was measured, can be used to calculate a position line on a nautical chart (latitude), for example, sighting the Sun at noon or Polaris at night (in the Northern Hemisphere) gives an angle by which the latitude can then be estimated. Sighting the height of a landmark on land can also give a measure of distance. History: The principle of the Octant as an instrument to measure ones latitude was first implemented around 1742-present but was superseded by the improvement of the octant to a sextant, a very similar instrument, better made and able to measure bigger angles 120°, allowing the measurement of Luna distances to give longitude when used with an accurate chronometer. The sextant started to appear around 1730 and had been attributed to by John Hadley (1682–1744) and Thomas Godfrey (1704–1749), but reference to the sextant was also found later in the unpublished writings of Isaac Newton (1643–1727). Earlier links can be found to Bartholomew Gosnold (1571–1607) indicating that the use of a Sextant for nautical navigation predates Hadley's implementation. In 1922, the sextant was modified for aeronautical navigation by Portuguese navigator and naval officer Gago Coutinho. Henry Hemsley was a lesser-known instrument maker and optician working in London in the late 17th and early 18th century. However, it should be noted that there were two Henry Hemsley opticians and instrument makers around this period. (Henry Hemsley 1, 1786-89, who had premises at 85 Fleet St London and Henry Hemsley 2, 1828-56), whose workshop was at 135-138 Radcliff Highway London. Therefore, based on the inscribed workshop address Henry Hemsley 2 is responsible for making this example.The octant is representative of its type and although not fully complete it demonstrates how 18th and 19th-century mariners determined their latitude on a chart to navigate their way across the world's oceans in the 18th and 19th century. It also demonstrates the skill and workmanship of the early instrument makers that operated from London at this time and provided most of the navigational instrumentation use by commercial and military navies of the time.Octant, ebony wooden frame and handle. Scale is missing from recess in frame. "H. Hemsley 135-138 Ratliff Highway, London", no box"H. Hemsley 135-138 Ratcliff Highway, London"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, navigation, navigational instrument, instrument used for navigation, sextant, henry hemsley, instrument maker, london, octant

The design of this and other similar treadle powered dental engine (or dentist drill) was in common use by dentists from the 1870’s into the 1920's. When electricity became accessible to most communities the electrically powered dental engines began to take over from the treadle power. Over the ages teeth were extracted using picks and scissors and other gouging instruments. Bow drills, hand drills and even a "bur thimble" drill were later used to prepare cavities for filling. Some drills were made bendable by attaching flexible shanks between the metal bur and the handle, giving access to the teeth at the back of the mouth. Other mechanical devices were introduced along the way, such as clockwork drills, but they were hard to handle and inefficient. Over the centuries “dentistry has been performed by priests, monks and other healers. This was followed by barbers; the barber’s chair may well have been the precursor to the dental chair. “(SA Medical Heritage Society Inc.) In 1871 James Morrison patented the first commercially manufactured 'foot treadle dental engine', the first practica dental engine although others had been introduced as early as 1790 (by John Greenwood). Handmade steel burs or drills were introduced for dental handpieces, taking advantage of the significant increase in the speed of the drill. In 1891 the first machine-made steel burs were in use. The treadle drill reduced the time to prepare a cavity from hours to less than ten minutes. In 1876 the Samuel S. White Catalogue of Dentist Instruments listed a 12 ½ inch wheel diameter dental engine, with 14 bright steel parts, for sale at US $55 In today’s market, this is the equivalent to US $1200 approx. The specifications of that dental engine are very similar to the this one in our Flagstaff Hill Maritime Village’s collection. It is interesting to note that workings of a similar treadle dentist drill were used and modified to power a treadle spinning wheel of one of the volunteer spinners at Flagstaff Hill Maritime Village. The foot treadle dental engine was a milestone in dental history. “Historic importance of treadle powered machines; they made use of human power in an optimal way” (Lowtech Magazine “Short history of early pedal powered machines”) The invention of a machine to speed up the process of excavation of a tooth lead to the invention of new burs and drills for the handpieces, improving speed and the surgical process of dentistry. They were the fore-runner of today’s electrically powered dental engines. This treadle-powered dentist drill, or dentist engine, is made of iron and steel and provides power for a mechanical dental hand-piece that would be fitted with a dental tool. The drill has a three footed cast iron base, one foot being longer than the other two. A vertical C shaped frame is joined into the centre of the base, holding an axle that has a driving-wheel (or flywheel) and connecting to a crank. A slender, shoulder height post, made from telescoping pipes, joins into the top of this frame and is height adjusted by a hand tightened screw with a round knob. On the post just above the frame is a short metal, horizontal bar (to hold the hand-piece when it is not in use). A narrow tubular arm is attached to the top of the stand at a right angle and can move up and down. At the end of the arm is a firmly fixed, flexible rubber hose protected for a short distance by a sheath of thin metal. At the end of the hose there is a fitting where the drill’s hand-piece would be attached; a small, silver coloured alligator clip is also at the end. A treadle, or foot pedal, is hinged to the heel to the long foot of the base, and joined at the toe to the crank that turns the driving-wheel. There is a spring under the toe of the treadle. The metal driving-wheel has a wide rim. Touching the inside of the rim are four tubular rings that bulge towards the outside of the driving-wheel, away from the pole, and all meet at the hub of the axle. The axle is bulbous between the inside of the driving-wheel and the frame then passes through the frame and is attached on the other side. The driving-wheel has a groove around which a belt would sit. The belt would also fit around a pulley on the arm, at the top of the post. The pulley is joined to a rod inside the arm and this spins the drill's hand-piece and dental tool holder. The two shorter feet of the base are made from a long metal bar that has been curved outwards, and its centre is bolted to the base of the pole. Under the ends of the curved legs of the base are wedge shaped feet. The driving-wheel is decorated in light coloured paint on both sides, each side having three sets of floral decals evenly spaced around them, and each about a sixth of the wheel's circumference. Similar decoration is along the sides of the frame. The foot pedal has decorative cutout patterns in the centre of the foot and at the toe. On the long foot of the stand is some lettering with a fine, light coloured border around it. The lettering is hard to read, being a dark colour and flaking off. There are also remnants of fine, light coloured flourishes. The foot pedal has lettering of the maker’s trade mark cast into the metal at the ball of the foot. Lettering on the base is peeling and difficult to read. The foot pedal has a trade mark cast into it that looks like a combination of ‘C’ , ‘S’ , ‘A’, ‘R’. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dentist, teeth, dental drill, dental engine, treadle drill, foot powered drill, treadle engine, orthodontics, dental surgery, james morrison

The design of this and other similar treadle powered dental engine (or dentist drill) was in common use by dentists from the 1870’s into the 1920's. When electricity became accessible to most communities the electrically powered dental engines began to take over from the treadle power. Over the ages teeth were extracted using picks and scissors and other gouging instruments. Bow drills, hand drills and even a "bur thimble" drill were later used to prepare cavities for filling. Some drills were made bendable by attaching flexible shanks between the metal bur and the handle, giving access to the teeth at the back of the mouth. Other mechanical devices were introduced along the way, such as clockwork drills, but they were hard to handle and inefficient. Over the centuries “dentistry has been performed by priests, monks and other healers. This was followed by barbers; the barber’s chair may well have been the precursor to the dental chair. “(SA Medical Heritage Society Inc.) In 1871 James Morrison patented the first commercially manufactured 'foot treadle dental engine', the first practica dental engine although others had been introduced as early as 1790 (by John Greenwood). Handmade steel burs or drills were introduced for dental handpieces, taking advantage of the significant increase in the speed of the drill. In 1891 the first machine-made steel burs were in use. The treadle drill reduced the time to prepare a cavity from hours to less than ten minutes. In 1876 the Samuel S. White Catalogue of Dentist Instruments listed a 12 ½ inch wheel diameter dental engine, with 14 bright steel parts, for sale at US $55 In today’s market, this is the equivalent to US $1200 approx. The specifications of that dental engine are very similar to the this one in our Flagstaff Hill Maritime Village’s collection. It is interesting to note that workings of a similar treadle dentist drill were used and modified to power a treadle spinning wheel of one of the volunteer spinners at Flagstaff Hill Maritime Village. The foot treadle dental engine was a milestone in dental history. “Historic importance of treadle powered machines; they made use of human power in an optimal way” (Lowtech Magazine “Short history of early pedal powered machines”) The invention of a machine to speed up the process of excavation of a tooth lead to the invention of new burs and drills for the handpieces, improving speed and the surgical process of dentistry. They were the fore-runner of today’s electrically powered dental engines. This treadle-powered dentist drill, or dentist engine, is made of iron and steel and provides power for a mechanical dental handpiece that would be fitted with a dental tool. On the foot is painted lettering naming it "The Brentfield" and there is a fine line of light coloured paint creating a border around the name. The paint under the lettering is peeling off. The drill has a Y-shaped, three footed cast iron base, one foot being longer than the other two. A vertical frame is joined into the centre of the base, holding an axle that has a driving-wheel (or flywheel) and connecting to a crank. A slender, shoulder height post, made from adjustable telescoping pipes, joins into the top of this frame. On the post just above the frame is a short metal, horizontal bar (to hold the hand-piece when it is not in use). A narrow tubular arm is attached to the top of the stand at a right angle and can move up, down and around. There is a pulley each side of the joint of the arm and a short way along the arm is fitted a short metal pipe. A little further along the arm a frayed-ended cord hangs down from a hole. At the end of the arm is another pulley and a joint from which hangs a long, thin metal pipe with two pulleys and a fitting on the end. A treadle, or foot pedal, is joined to the long foot of the base, and joined at the toe to the crank that turns the driving-wheel. The metal driving-wheel has a wide rim. Touching the inside of the rim are four tubular rings that bulge towards the outside of the driving-wheel, away from the pole, and all meet at the hub of the axle. The axle fits between the inside of the driving-wheel and the frame then passes through the frame and is attached on the other side. The driving-wheel has a groove around which a belt would sit. The belt would also fit around a pulley on the arm, at the top of the post. The pulley is joined to a rod inside the arm and this spins the drill's hand-piece and dental tool holder. The foot pedal has a cross-hatch pattern on the heel and the ball of the foot has tread lines across it. The end of the toe and the instep areas have cut-out pattern in them. "The ____/ Brentfield / __ DE IN L___" (Made in London) painted on the long foot of the base. Marked on the drill connection is “Richter De Trey, Germany”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, dentist, teeth, dental drill, dental engine, treadle drill, foot powered drill, treadle engine, orthodontics, dental surgery, james morrison, the brentfield, richter de trey, german dental fitting, london dental drill

Early 1900's. "Boiling the billy". The term billy or billycan is particularly associated with Australian usage, but is also used in the UK and Ireland. It is widely accepted that the term "billycan" is derived from the large cans used for transporting bouilli or bully beef on Australia-bound ships or during exploration of the outback, which after use were modified for boiling water over a camp fire. Postcards developed out of the complex tradition of nineteenth-century printed calling cards, beginning with the advent of the Cartes-de-Visite in France. In the 1850s, Parisian photographer Andre Adolphe Eugene Disderi invented a photographic process involving egg white, albumen, and silver nitrate to create inexpensive portraits on paper cards. These photographic Cartes-de-Visites were 2 1/2 (75mm) by 4 inches (98mm) and became a popular, collectable form of "visiting cards" world-wide. Photographers would reprint portraits of famous individuals they had taken at their studios or during travel and sell them as collectable cards. Postcards as we know them now first began in 1861 as cards mailed by private post. In the 1870s picture postcards grew in popularity throughout the United States, Britain, Europe, and Japan. Cards were first permitted to have a "Divided Back," with text written on the left half of a dividing line and the address on the right half, beginning in England in 1902. Around 1900 the first postcards made of "Real Photos" rather than artwork began to circulate, aided in by advances in amateur photography equipment by companies such as Kodak. Kodak also introduced postcard paper for photographic development and photography studios began to offer portraits printed as postcards Many local town, countryside, and architectural images were captured during this period by local photographers, then printed and sold as postcards . Advances in amateur photography all contributed to a postcard craze that lasted from 1900 to the First World War. Postcards were the preferred means to send a quick note, whether across town or across a continent.Postcard with a black and white Photograph on the front and a 'Divided Back ' for the message and address. There are seven men surrounding the billy suspended over a camp fire. The ground has a lot of dead branches around. One man is bending down towards the billy. Two men on either side of the camp fire are carrying either a white bag across their shoulders or the fish in their hands. You can see, that there is some steam also coming out of the billy, which means that its hot. Court Post Card. / this space may be used for correspondence. / The address only to be written here.1900's, boiling the billy , postcards, photographers, england, hungary, america, cartes-de-visite, visiting cards, moorabbin, cheltenham, bentleigh, market gardeners, early settlers, pioneers,

NBD This is a Puffing Billy Railway reclassification of the first series of NB carriages. COMBINED NB PASSENGER CAR AND GUARD'S VAN. A saloon or end platform NB which has had a guard's compartment temporarily added in one end. Due to the temporary nature of this conversion, this vehicle also retains its original number in the NB numbering sequence but is classed NBD to differentiate it from the standard NBC and the NAC. The use of the letter 'D' in the classification is recognising the code for guard's vans prior to 1910. NB Class - Number Built (1st Series) 6 - Number Built (2nd Series) 17 - Number Built (3rd Series) 4 NB (1st series) NB 5 was equipped with a vertical hand brake at one end to enable it to be used as the last vehicle of a train. Body Length 20 feet 6 inches ( 6248 mm) Vehicle Length 25 feet 2 inches ( 7671 mm) Coupled Length 27 feet 4 inches (8330 mm) Width 6 feet 3 inches (1905 mm) Height 9 feet 5 inches (2870 mm) Weight 8 tons Capacity 16 passengers Built 1898 - 1904 Number Built 6 In use NBD 1, 2, 5 NB - Puffing Billy Railway classed these as NBD to indicate their use as a trailing vehicle with guard's accommodation. 5 NBD Victorian Railways Service History NBB 5. ( it's original number ) Built new - - / 6/1901 Newport Workshops 4/ 2/1902 - In Service "Commenced running" circa 1910 - renumbered To NB 5 *NB 5. - / 6/1926 - Modified AC Malco 5/ 2/1951 - Scrapped - Body and underframe purchased by Puffing Billy Preservation Society from Pakenham. Restored by the Puffing Billy Preservation Society 1975. In July 2006 work commenced on 5 NB to make it a temporary kitchen car for the luncheon/dinner train. It has had the seating removed from the saloon and kitchen equipment installed. Plans are for a kitchen car to be constructed and 5 NB restored to carry passengers.Historic - Victorian Railways Narrow Gauge - Passenger Rolling Stock: Passenger and Guard's Van carriage 5 NBD - converted into Catering Car and Guards vanMade of Timber and steel 5NBDvictorian railways, narrow gauge rolling stock, 5nbd - catering car and van, puffing billy

6NBH - Excursion Car NBH SECOND-CLASS EXCURSION CAR. The H was recognising their use for "Holiday" traffic. 15 of these cars were built in 1919 and numbered 1-15. Two more were built in 1981, and numbered 16 & 17. Two extended versions for wheelchair passengers were built in 1981 & 1983. These were numbered 51 & 52 - a separate number series due to the different type of vehicle. Six, numbered 18-23, were built in 1997-98. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 18NBH entered traffic 19/4/1997; 19NBH on 5/12/1997; 20NBH on 19/12/1997, the others added in 1998. VR Service History : 9/ 7/1900 NWS Built new as 46 NQR converted & renumbered to 12/ 4/1919 - To NBH 6. VR Service History NQR 46.VA - 9/ 7/1900 NWS Built new - 12/ 4/1919 - To NBH 6.VA - *NBH 6.VA - circa 1919 - Reference Photo SL20 p20 / 6/1928 - Modified AC Malco BO circa 1955 - Condemned - / 5/1967 BEL Photograph #9.2: part view Puffing Billy Service History or Notes 12 Apr 1919 - Nos 1 to 6 NBH (new) delivered to UPPER FERN TREE GULLY after this date. PRO photos NBH CLASS CARRIAGE No.6 CARRIAGE NARROW GAUGE PERSPECTIVE VIEW PRO Photo RS 0059 http://wiki.prov.vic.gov.au/thumbs/12800-P0004-000007-010t.jpg NBH CLASS CARRIAGE No.6 CARRIAGE NARROW GAUGE SIDE VIEW PRO Photo RS 0060 http://wiki.prov.vic.gov.au/thumbs/12800-P0004-000007-020t.jpg NBH CLASS CARRIAGE No.6 NARROW GAUGE PICNIC TRUCK INTERIOR PRO Photo RS 0062 http://wiki.prov.vic.gov.au/thumbs/12800-P0004-000007-040t.jpgHistoric - Victorian Railways Narrow Gauge - Passenger Rolling Stock: Excursion Car6 NBH - Passenger Carriage - Excursion Car made of wrought iron and timber6NBHpuffing billy railway, nbh, narrow gauge, victorian railways, excursion car

Van 3 NUU - Louvred Truck (11) VR Service History 3/12/1900 NWS Built new Vehicle Length 25 feet 2 inches ( 7671 mm) Coupled Length 27 feet 4 inches (8330 mm) Width 6 feet 3 inches (1905 mm) Weight 7 tons Capacity 10 tons Built 1898 - 1911 Number Built 14 In use 5 To be restored None *NUU 3.VA - 3/12/1900 NWS Built new - / /1926 - To NU 3.VA - NU 3.VA - circa 1926 - Modified AC Malco 1/10/1977 - Off Register To ETRB Sec76/3630 RS77/4223 NUU The standard louvre van design for the Victorian narrow-gauge lines, the NUU vehicles were constructed in three batches; the first seven from 1899 to 1901, an eighth in 1906 and the last six in 1911, for a total class of fourteen. They looked very similar to the U vans of the Broad Gauge, although two photographs[1][2] of NUU 1 show that its body may have been white for some time. NU In 1926 the class was relettered to simply NU, with no changes to numbers. NU 4 was scrapped in 1938, but otherwise the class remained intact until 1954, when seven members (2, 5, 7, 8, 9, 11 and 12) were sold to Coulston & Hyder, who dispersed the wagons among locations on the Wangarrata to Whitfield line. As of 1996, vans 7 and 12 were at Moyhu, while van 11 was destroyed by fire in 1978. Wagons 6 and 1 were scrapped in 1957 and 1958 respectively, while in 1954 van 13 was recorded as being sold to the Puffing Billy Preservation Society. In 1977, the remaining vans 3, 10 and 14 were handed over to the Emerald Tourist Railway Board, and removed from Victorian Railways records. The Puffing Billy Railway now posesses vans 3, 8, 10, 13 and 14. Historic - Victorian Railways Narrow Gauge - Rolling Stock - Louvered VanWooden Louvered Van - Made of Timber on a Wrought iron frame3 NUUpuffing billy, 3 nuu, louvered van, 2'6" guage, victorian railways, narrow gauge rolling stock

The Kangaroo Hoppet is Australia’s premier long distance cross country ski race, and a member of the Worldloppet series of international cross country ski events. The first race at Falls Creek was held in 1979 under the name of “Australian Birkebeiner”. It was a 21km race with about 80 participants organised by the Birkebeiner Nordic Ski Club of Mount Beauty. The course started and finished at Falls Creek Alpine Resort and took participants out into the Bogong High Plains. After running the event for 10 years, it was decided they should become part of the Worldloppet series of marathon ski races. Representatives from the Birkebeiner Nordic Ski Club and the Australian Ski Federation attended the Worldloppet Annual Meeting in Finland in June 1990 to put the case for the acceptance of an Australian event into the Worldloppet series. Before being admitted, they had to demonstrate that the Birkebeiner Club could run a world class event, so three months later in August 1990 a 42km event named the Australian International Ski Marathon was held at Falls Creek together with a 21km Birkebeiner race and a 7km event called the Birkebeiner Lite. The event was approved by delegates from USA, Norway and Austria, in 1991 Australia became the 12th member of Worldloppet, with the condition that there had to be a name change. After some late night discussion allegedly involving red wine from North East Victoria the main event became the 42km Kangaroo Hoppet, with the minor events being the 21km Australian Birkebeiner, and 7km Joey Hoppet. In the winter of 1991, the first Kangaroo Hoppet was held. It was a great success and has been a regular fixture on the international ski calendar ever since. It features the main 42km event as well as a 21km event and a 7km event. The Hoppet brings the Australian snowfields to an international audience. In 2006 the Men's Winner was Ben Sim from Australia in a time of 1:13:17. The winner of the Women's event was Natascia Leonardi-Cortesi of Switzerland in a time of 1:23:20. This was a very poor snow season with no snow in the Nordic Bowl, on Heathy Spur or on the trail around the Lake so the course had to be modified.This poster is significant because it documents an event which brings international attention to Falls Creek and the surrounding region.An image of a large group of skiers in reddish tones on white-blue snow. All writing is in blue text. The logos of Tourism Victoria and Worldloppet are on the right hand side in red tones. A blue fish is beside the text at the bottom.Beneath the image: KANGAROO HOPPET 16 August 26 Falls Creek Australia 2006 EMAIL [email protected] WEB www.hoppet.com.au PH +61 3 57541045 03 57541045 POST P.O. Box 400 Mount Beauty 3699 newfishPeeskangaroo hoppet, worldloppet events, falls creek, mt. beauty

The Kangaroo Hoppet is Australia’s premier long distance cross country ski race, and a member of the Worldloppet series of international cross country ski events. The first race at Falls Creek was held in 1979 under the name of “Australian Birkebeiner”. It was a 21km race with about 80 participants organised by the Birkebeiner Nordic Ski Club of Mount Beauty. The course started and finished at Falls Creek Alpine Resort and took participants out into the Bogong High Plains. After running the event for 10 years, it was decided they should become part of the Worldloppet series of marathon ski races. Representatives from the Birkebeiner Nordic Ski Club and the Australian Ski Federation attended the Worldloppet Annual Meeting in Finland in June 1990 to put the case for the acceptance of an Australian event into the Worldloppet series. Before being admitted, they had to demonstrate that the Birkebeiner Club could run a world class event, so three months later in August 1990 a 42km event named the Australian International Ski Marathon was held at Falls Creek together with a 21km Birkebeiner race and a 7km event called the Birkebeiner Lite. The event was approved by delegates from USA, Norway and Austria, in 1991 Australia became the 12th member of Worldloppet, with the condition that there had to be a name change. After some late night discussion allegedly involving red wine from North East Victoria the main event became the 42km Kangaroo Hoppet, with the minor events being the 21km Australian Birkebeiner, and 7km Joey Hoppet. In the winter of 1991, the first Kangaroo Hoppet was held. It was a great success and has been a regular fixture on the international ski calendar ever since. It features the main 42km event as well as a 21km event and a 7km event. The Hoppet brings the Australian snowfields to an international audience. In 2009 the Men's Winner was Ben Sim from Australia in a time of 0:58:39.4. The winner of the Women's event was Kate Calder of New Zealand in a time of 1:07:48.9. Due to the poor weather, and in view of skier safety and poor snow cover, a modified course was set. he Hoppet was reduced from 42 to 25 kms. This poster is significant because it documents an event which brings international attention to Falls Creek and the surrounding region.A poster with an aerial photo of a large number of skiers in the formation of the shape of a kangaroo. The colour of the border is blue, white and orange text is used. The Worldloppet logo is at the top left. The logos of AGL, Alpine Shire, Birkebeiner Nordic Ski Club, Parks Victoria, Tourism Victoria and Falls Creek are across the bottom of the poster. At the top: KANGAROO HOPPET 2009 NINETEEN At the foot of the kangaroo shape: 29 AUGUST 2009 FALLS CREEK, VICTORIA, AUSTRALIA In orange text: KEEP WINTER COOL FIGHT GLOBAL WARMING WWW.KEEPWINTER COOL.COM.AU At bottom in white text: www.hoppet.com.au kangaroo hoppet, worldloppet events, falls creek, mt. beauty

The Kangaroo Hoppet is Australia’s premier long distance cross country ski race, and a member of the Worldloppet series of international cross country ski events. The first race at Falls Creek was held in 1979 under the name of “Australian Birkebeiner”. It was a 21km race with about 80 participants organised by the Birkebeiner Nordic Ski Club of Mount Beauty. The course started and finished at Falls Creek Alpine Resort and took participants out into the Bogong High Plains. After running the event for 10 years, it was decided they should become part of the Worldloppet series of marathon ski races. Representatives from the Birkebeiner Nordic Ski Club and the Australian Ski Federation attended the Worldloppet Annual Meeting in Finland in June 1990 to put the case for the acceptance of an Australian event into the Worldloppet series. Before being admitted, they had to demonstrate that the Birkebeiner Club could run a world class event, so three months later in August 1990 a 42km event named the Australian International Ski Marathon was held at Falls Creek together with a 21km Birkebeiner race and a 7km event called the Birkebeiner Lite. The event was approved by delegates from USA, Norway and Austria, in 1991 Australia became the 12th member of Worldloppet, with the condition that there had to be a name change. After some late night discussion allegedly involving red wine from North East Victoria the main event became the 42km Kangaroo Hoppet, with the minor events being the 21km Australian Birkebeiner, and 7km Joey Hoppet. In the winter of 1991, the first Kangaroo Hoppet was held. It was a great success and has been a regular fixture on the international ski calendar ever since. It features the main 42km event as well as a 21km event and a 7km event. The Hoppet brings the Australian snowfields to an international audience. In 2012 the Men's Winner was Alexander Legkov from Russia in a time of 1:23:00. The winner of the Women's event was Maria Graefnings of Sweden in a time of 1:33:14. The planned course was modified and shortened due to the predicted high winds and poor visibility. The 42km Hoppet course was shortened to 30km.This poster is significant because it documents an event which brings international attention to Falls Creek and the surrounding region.A poster featuring a skier dressed in blue and red with trees in the background. Stylised snowflakes are on either side. The page border is red. Logos of AGL, Falls Creek All Season Alpine Resort, Alpine Shire, Tourism Victoria, Parks Victoria and the Birkebeiner Nordic Ski Club are across the bottom of the poster.At the top right hand corner within a circle: Australia's PREMIER X-COUNTRY SKI RACE 22 Beneath the image KANGAROO HOPPET 25th August 2012 FALLS CREEK VICTORIA AUSTRALIA / 42KM 21KM 7KM / www.hoppet.com.au kangaroo hoppet, worldloppet events, falls creek, mt. beauty

A wide range of souvenirs have been produced to commemorate Wodonga and its landmarks over time. These items document key changes in Wodonga and its heritage. The producers mark on the plate was used by the company RKG Czechoslovakia between 1921 and 1938 This plate depicts three key landmarks in Wodonga. THE SOLDIERS' MEMORIAL in Wodonga was unveiled on Tuesday 18th November 1924. It was designed by Messrs. Hosken & Co., of Hawthorn, Victoria. The monument is all of Australian workmanship. The pedestal is made of Harcourt granite, 9ft x 9ft at the base, and rising in seven courses to a height of 10ft 2in. The emblems (rising sun and wreath) are of bronze, and the lettering of the inscription and names of fallen soldiers are in raised lead letters. Originally the Memorial was completed with a full life size, 6ft in height, sculpture of an Australian soldier in Sicilian marble. The memorial bore the inscriptions: ERECTED BY THE RESIDENTS OF WODONGA AND DISTRICT IN MEMORY of the Men of this Town and District who fell in the Great War, 1914-1919, Also in grateful recognition of the men who served and returned. “Lest We Forget.” In 1982, due to frequent vandalism and high cost of materials to repair, the soldier statue was removed and later installed at the RSL Rooms. THE WATER TOWER is a major landmark of High Street, Wodonga. It began operation from 1924 until it ceased operation in 1959. It stood unused for a decade until the lower section was modified and put to use as “ The Tower’s Cobbler’s Inn” in 1962. In 1972 Wodonga City Council proposed to demolish the Tower. Their suggestion received an unfavorable response from the city’s citizens, so the Tower still stands today. THE BAND ROTUNDA was officially opened on Sunday 5th September 1920 at the naming of the triangular reserve at the corner of High and Hovell Streets as Woodland Grove. The Wodonga Band gave a public performance on this occasion. The tri-coloured ribbon, which stretched across the entrance to the Rotunda was cut by Mrs R.H Murphy, daughter of Mr. John Woodland, secretary of the Wodonga Shire Council for 35 years, after whom the area was named. The rotunda has since been moved to Martin Park, Wodonga. Small china pieces carrying scenic views of holiday destinations were a popular kind of souvenir during much of the 20th century. These items have local and social significance as they reflect the landmarks or local features valued by the community over time. An apricot irregular shaped dish made from lustre ware with a drawing of the Wodonga Soldiers Memorial, Water Tower and Rotunda. The manufacturer's mark is imprinted on the base. Text under the image says 'THE SOLDIERS' MEMORIAL. WODONGA. VICManufacturer's trademark printed on base, in orange paint, in a circular formation 'ROYAL SYDNEY CHINA / MADE IN / CZECHOSLOVAKIA', within circular formation '(crown) / RK / G' ('RK / G' within circle with handles).porcelain, wodonga, royal sydney china, soldier memorial, wodonga souvenirs

The Bocian is a versatile training sailplane that first flew in 1952. The type has been modified in several respects over the course of production by SZD (tailplane and rudder in particular). About 600 have been built; many for export to 27 countries (including Australia). The aerobatic capability and fine performance (best glide ratio of 26) has enabled the Bocian to be used to train competition pilots as well as those of lesser experience. Many world gliding records were set in the 1950s and 1960s in Bocian gliders. The Museum’s example is a type D test flown in Poland on 3 and 4 April 1963. It was imported into Australia in September 1963 by Austerserve Pty Ltd. The first owner was the Alice Springs Gliding Club and the glider had name “Cumulus” painted on the side of the fuselage (since removed). The glider had recorded 726 hours 46 minutes flying time from 2138 launches as at July 1967 when it was transferred to the Darwin Gliding Club. It appears that the glider was damaged in June 1968. The substantial repairs to the fuselage, both wings and tailplane and other minor repairs were completed on 13 October 1968. The glider continued flying with the Darwin Gliding Club until August 1969 at which time the service to that club amounted to 59 hours 7 minutes flying time from 348 flights. Between August 1969 and August 1976 no flights are recorded in the logbook. It is understood that on its last flight at Bachelor, south of Darwin in the Northern Territory (August 1969) it was severely damaged when it crashed after spinning while being auto-tow launched (although this is not expressly mentioned in the logbook). Reg Hancock purchased the damaged glider and rebuilt the port wing and restored it to airworthy condition (September 1976). It was then transferred to Colac, Victoria, and used by the Colac Gliding Group at the Yeo airfield until February 1981, adding another 153 hours from 403 flights to the glider’s record. After airworthy inspection in September 1982 the glider was used by the Geelong Gliding Club until 1983 (logbook details not held). The 20 year survey was then due and the glider fell out of service. In the course of the most recent restoration attempt it was discovered that the glue used in construction had deteriorated and that it was no longer feasible to bring it back to an airworthy condition. Subject to restoration, this exhibit may be representative of the 1950s - 1960s Bocian two seat sailplane typeThis exhibit is a large two seat glider /sailplane of wood and fabric construction. All components are present with the exception of instruments. However, at the time that the aircraft was transferred to the Museum it had been taken apart for major restoration work. As received it is stripped of the top coats of paint and a number of components (including, amongst others, tip fairings, nose cone and cockpit elements) that were removed for facilitating the repair process. The glider, serial number 803, was registered as VH-GNLaustralian gliding, glider, sailplane, bocian, cumulus, alice springs gliding club, darwin gliding club, colac gliding group, geelong gliding club, hancock

24 NB - Carriage (NB 3rd series) 6 compartments (36) Vehicle Length 29 feet 6 inches ( 8992 mm) Coupled Length 31 feet 4 inches (9550 mm) Width 6 feet 7 inches (2007 mm) Height 9 feet 9 inches (2972 mm) Weight 11 tons Capacity 40 passengers, or 36 with guard's compartment. Built 1906 - 1915 Number Built (1st Series) 6 Number Built (2nd Series) 17 Number Built (3rd Series) 4 In use NB 24 VR Service History NABAB 4.VA - 18/ 9/1909 NWS Built new - circa 1910 - To NAB 4.VA - NAB 4.VA - 18/ 6/1917 - To NB 24.VA - *NB 24.VA - / 6/1926 - Modified AC Malco 19/ 1/1932 NWS Into Workshops - 10/ 5/1932 NWS Out of Workshops (113 days) 21/ 6/1933 NWS Into Workshops - 17/ 8/1933 NWS Out of Workshops (58 days) 28/ 8/1934 NWS Into Workshops - 13/ 9/1934 NWS Out of Workshops (17 days) 9/ 2/1937 NWS Into Workshops - 17/ 3/1937 NWS Out of Workshops (37 days) 31/ 5/1940 NWS Into Workshops - 5/12/1940 NWS Out of Workshops (189 days) 27/ 1/1948 NWS Into Workshops - 29/ 7/1948 NWS Out of Workshops (185 days) 12/12/1954 - Scrapped Body to Eng. Spcl Works 17/ 8/1957 - Traced at Stocktake STET - Return to Register Puffing Billy Service History or Notes NB (3rd series) The Puffing Billy Railway built a guard's compartment built in 24 NB. This reduced the passenger capacity to 36. The car retained its classification as NB in an attempt to emphasise that this was only a temporary conversion. The NBC classification was already in use. One day the guard's compartment will be removed and the vehicle returned to the classification of NB. The guard's compartment has a radio, air brake taps and gauges but no hand brake.Historic - Victorian Railways Narrow Gauge - Passenger Rolling Stock: NB Passenger carriage Passenger carriage 24NB - Carriage (NB 2nd series 6 compartments), Timber body on a steel frame 24NBpuffing billy, 24nb, nb passenger carriage, 2'6" guage, victorian railways, narrow gauge passenger rolling stock