This photograph is taken in the bedroom of the man's home in the suburbs of Melbourne. It depicts one of the types of nursing care given by Melbourne District Nursing Society (MDNS) Sisters in the community. The Sister is visiting the man's home and is administering an injection which has been ordered by a doctor. Glass syringes were used by the Society until the mid 1960s and were re sterilized for future use. After this time plastic disposable syringes were used.The Trained nurses of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing and to people of many cultures throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care provided was: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. RDNS provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Quadriplegia, Paraplegia, Acquired Brain Injury, following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.On the left of this black and white photograph, is a Melbourne District Nursing Society Sister who is standing side-on and leaning slightly forward as she administers an injection into the right upper arm of a gentleman to her right who is sitting up in bed resting against two white covered pillows. The male patient has short dark hair; is wearing glasses, and is looking up at the Sister. He is wearing a thick grey cardigan over a pale colour pyjama top which has dark piping; the lower part of his body is covered by a dark and light coloured check bed cover. The bed has a solid wooden headrest with a bed lamp attached to its upper right. The Sister who is wearing her uniform grey brimmed hat over her dark short hair, is wearing a white gown over her grey uniform, the collar of which is seen. Three fingers of her left hand are holding back the pushed up sleeve of the man's cardigan and she is holding a white swab between her thumb and first finger. She has a glass syringe resting in her right hand with her thumb and forefinger resting against the lower glass and metal section of the syringe; part of the metal needle is seen, the rest is inserted in the mans upper arm. On the far left of the photograph part of a dressing table mirror can be seen.' Rough Proof' Latrobe Studios Ref No. 59134-8melbourne district nursing service, mdns, royal district nursing service, rdns, rdns - injection

This photograph depicts a Melbourne District Nursing Service (MDNS) Sister administering an injection to a gentleman in his own home in the suburbs of Melbourne. The Sister is wearing the MDNS winter grey uniform short sleeve dress and grey wool beret with a central red Maltese cross. Glass syringes were used until the mid 1960s when plastic disposable syringes were then used.The Trained nurses of the Melbourne District Nursing Society (MDNS), then Melbourne District Nursing Service from 1957, and from 1966 known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing and to people of many cultures throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary. This photograph depicts Melbourne District Nursing Service (MDNS) Sister Mary Maxwell administering an injection into the left upper arm of Mr Cannestra. On the left of the photograph Mr Cannestra is sitting on the padded arm of his patterned couch; he has his left arm extended. His head, which is bald with some white hair at the side and rear, is turned towards the Sister who is standing on his right. He is wearing a grey shirt and his grey trousers are held up with braces. Sister Maxwell is wearing a white gown over her grey uniform with the collar seen. She is wearing a grey wool beret with central Maltese cross, over her short, dark hair. She is standing beside the patient and her left hand is holding his left arm with his shirt sleeve rolled up to expose his upper arm. She is holding the angled barrel of a glass and metal syringe in her right hand and some of the needle can be seen against Mr. Cannestra's arm. In the background the wall is covered with a striped wallpaper, and to the right part of a long floral curtain can be seen. To the right in the foreground, a round dark tray with jar, small bottle containing the medication for injection, a glass and a white cloth, sit on a small round table with a white and patterned tablecloth.La Trobe Street Studios. Reference number 59134-21melbourne district nursing service, mdns, mdns - injection, royal district nursing service, rdns, sister mary maxwell, mr cannestra

Yields information about the view of The Courier, and locals about the mooted closure of the tramway system and reporting on the proposal, an AETA visit and lunch hour services.Foolscap sheet of plain paper, with rounded corners, with 7 newspaper cuttings, concerning the mooted closure of the Ballarat Tram system April and May 1962. All from The Courier, unless noted otherwise. 1 - "Tramway renewals would cost 2.5m" - 18-4-62 - quote from Leader in the Legislative Council the previous day, Mr. Chandler, to upgrade tracks and trams in both Ballarat and Bendigo. 2 - "Old Trams" - The Age - 13/4/62 - about the proposed replacement of trams and their services 3 - "Coming Events" - 19-4-62 - reporting on item 1, six month delay as the motion has not been tabled - use them or loose them attitude. 4 - "Their Hobby is Electric Traction" - 23-4-62 - about the visit of about 84 members of the AETA to Ballarat, visiting Ballarat and Bendigo, 2nd hand trams, met by Mr. Denmead 5 - "Tram Services" - letter 4-5-62 - trams not departing on time at Lunch hour and other issues 6 - "Tram Times" - 5-562 - by R. Courtney local Secretary of the Union, about the lunch hour services - delayed by inspectors to assist the public 7 - "Tram Times" - 8-5-62 - concerning the lunch hour one minute delay and has not be late back to work. closure, letter to the editor, editorial, sec, lunch hour, aeta

Exercise or Mapping book - Australian Mapping book, decorative cover with mathematical tables on the rear, plain paper, 48 pages holding tickets collected by Keith Stodden. Titled "Tickets 2". Tickets have been positioned using stamp hinges. Pages 1 - Sydney 2 - 5 - mixed VR Bus, MMTB, railway tours, National Trust, and other admission tickets 6 - 8 - Brisbane 9 - BTMS, TAA 10 - TMSV, Sydney 11 - MMTB 12 - Sandhurst Town, National Trust, mixed admission 13 - Sydney 14 - MMTB Bus 15 - Adelaide 16 - 19 - Brisbane 20 - 21- Melbourne Rail, 22 - Melbourne Pageant 23 - 24 - Melbourne Rail and Tram - Travel cards 25 - 26 - Auckland, MOTAT 27 - 28 - Travelcards, Ballarat, Bendigo, Perth, MMTB Swimming ticket 29 - Melbourne rail 30 - Ansett bus, rail and MTT Perth 31 - 32 - Rail travel cards 33 - CRB Westgate bridge toll, Neighbourhood tickets 34 - ARHS ACT, Westgate bridge toll vouchers, 35 - 37 - MMTB, Rail travel cards, ACT bus 38 - Muni, and Travelcard 39 - 40 - Rail, 41 - 42 - travel cards, ARHS ACT 43 - 44 - Travelcards, Santa tram Bendigo 45 - blank 46 - VicRail country ticket, Ansett boarding pass 47 - Levers coachlines.trams, tramways, tickets, the met, mmtb, adelaide, sec, tmsv, sydney, buses

Set of eight report on traffic counts during the 1970's. All Foolscap except .8, with notes, tables, charts and maps. .1 - "PM Peak traffic counts - March/April 1974 for the City Cordon and beyond the City Cordon" - May 1974 - red tape binding. .2 - "PM Peak Traffic counts - April 1975 - St Kilda Road Cordon" - June 1975 - red comb binding .3 - "AM Peak Traffic counts - October 1974 for the City Cordon and beyond the City Cordon" - December 1974 - red comb binding .4 - "St Kilda Road Cordon 1976 - PM Peak outbound traffic count" - Feb. 1976 - - red comb binding .5 - "St Kilda Road Cordon 1973 - AM Peak Inbound Oct. 1973" - dated Nov 1973 - red tape binding. .6 - "City Cordon Passengers counts AM Peak - Feb & March 1972, PM Peak March 1972 - showing effect of change of State public service and also introduction of late night shopping." - June 1972 - was bound with red tape. .7 - "PM Peak traffic counts - April 1975 for the city cordon and beyond the city cordon" - dated June 1975 - red comb binding .8 - "City Cordon 1977 PN Peak outbound traffic count" - dated June 1977, A4 - red comb bindingIn top left hand corner "Lees" in pencil or ink and some with the report title on the left hand edge for filing purposes.trams, tramways, mmtb, tramways, surveys, passengers, st kilda rd

This is a set of photographs of a 4th Field Survey Squadron Officers, Warrant Officers and Sergeants Corps Day Formal Dinner held at Keswick Barracks, Adelaide SA in July 1994. It is apparent there were visiting personnel from the Army Survey Regiment and other unidentified units. This is a set of 26 photographs of a 4th Field Survey Squadron Officer, Warrant Officer and Sergeant’s Formal Dinner held at Keswick Barracks, Adelaide SA in July 1994. The colour photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) - Photo, colour, 1994. Facing camera – SSGT Brian Collings. .2) - Photo, colour, 1994. L to R: facing camera – John Jones, Sharon Jones, Peter ‘Jack’ Elverd, Julie Elverd, SGT Martin Evans, remainder unidentified. .3) - Photo, colour, 1994. Unidentified guests. .4) - Photo, colour, 1994. L to R: facing camera – unidentified (x2), SSGT A. Simcock, SGT Peter Hardy, unidentified, MAJ Bob Williams. .5) - Photo, colour, 1994. L to R: facing camera – unidentified (x2), SSGT Pat ‘Fuji’ Drover, unidentified guests (x2), Ian Belmont, unidentified. .6) - Photo, colour, 1994. L to R: facing camera – unidentified (x4), Allan Adsett, Judyne Adsett, unidentified, LT Andrew Caudle, unidentified. .7) - Photo, colour, 1994. L to R: facing camera – unidentified (x7), Allan Adsett. SPR Chris Pearse (steward), Eddie Jacobs (in background). .8) - Photo, colour, 1994. John Zuringer (flower in lapel) remainder unidentified. .9) - Photo, colour, 1994. L to R: facing camera – unidentified, LTCOL George Ricketts (Ret), remainder unidentified. .10) - Photo, colour, 1994. Head table facing camera L to R: unidentified (x2), OC MAJ Peter Demaine, unidentified, WO2 Peter Hammer, SSGT Lynn Johnson, DSVY-A COL Simon Lemon. .11) - Photo, colour, 1994. Food preparation. L to R: LCPL Mitch Oake, unidentified. .12) - Photo, colour, 1994. Dixie bashing. L to R: CPL Brett Parkin, remainder unidentified. .13) - Photo, colour, 1994. Locker art. .14) - Photo, colour, 1994. Dixie bashing. SPR Mark McInerney. .15) - Photo, colour, 1994. L to R: facing camera – unidentified, Bob Williams, unidentified (x3), SGT Mark Donnelly (in background). .16) - Photo, colour, 1994. L to R: facing away from camera – LTCOL George Ricketts (Ret), unidentified. Facing camera - unidentified (x9), Allan Adsett, Judyne Adsett, unidentified, LT Andrew Caudle, unidentified(x2). .17) - Photo, colour, 1994. L to R: facing away from camera – LTCOL George Ricketts (Ret), unidentified. Facing camera - unidentified (x9), Allan Adsett, Judyne Adsett. .18) - Photo, colour, 1994. Head table facing camera L to R: SSGT Lynn Johnson (edge of photo), DSVY-A COL Simon Lemon, unidentified, CAPT Chris Topovsek, unidentified in foreground, WO1 Stevo Hinic. .19) - Photo, colour, 1994. Head table facing camera L to R: unidentified, OC MAJ Peter Demaine, unidentified, WO2 Peter Hammer, unidentified (x2) in foreground. .20) - Photo, colour, 1994. L to R: facing camera – unidentified (x4), WO1 Mick Sarson, unidentified (x2). .21) - Photo, colour, 1994. L to R: facing camera – unidentified, SSGT Brian Collings, unidentified, WO2 Roger Rees, unidentified (x3), CAPT Tony Stephens. .22) - Photo, colour, 1994. L to R: facing camera – unidentified, SSGT A. Simcock. .23) - Photo, colour, 1994. L to R: facing camera – unidentified, SSGT A. Simcock, SGT Peter Hardy. .24) - Photo, colour, 1994. L to R: facing camera – Lorraine Talbot-Smith (edge of photo), WO2 Ken Talbot-Smith, unidentified, WO2 Simon ‘Andy’ Capp, unidentified, Eddie Jacobs. .25) - Photo, colour, 1994. L to R: facing camera – unidentified, SGT H. Evertz, Pat Belmont, Ian Belmont. .26) - Photo, colour, 1994. L to R: facing camera – unidentified, CAPT Tony Stephens, unidentified..1P to .26P – There are no personnel identified. ‘1994 CORPS BIRTHDAY’ annotated on negatives sleeve.royal australian survey corps, rasvy, 4 fd svy sqn

This music stand set of shelves is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. Many of the items of furniture, linen and crockery in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) whose photos are in the parlour. They married in 1880. Henry, born at Tower Hill in 1858, was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. THE SHELVES During the years 1869-1935 there were well over 250 registered bamboo furniture producers in Britain. The earliest recorded firm was Hubert Bill of 14 Little Camden St, London N.W., who claimed to have been established in (1869 the first bamboo furniture maker), while Daniel Jacobs & Sons of Hackney Road, London, were still in business in 1915, after 45 years of production. Design, quality, price and methods of construction were fairly consistent throughout the whole period, but it was the imaginative and often eccentric choice of subject matter that marked the differentiation between the various firms. While most produced standard tables, stands and fire-screens, the more adventurous offered for sale items such as Corner shelve units, charcoal barbecue grills and musical tea tables. Shelves were often covered with embossed leather paper designs, at first imported from Japan and then later produced in England. Some firms incorporated the knobbly roots of the bamboo stems into their designs, generally to form feet. Occasionally handles to drawers and cupboards were made with these roots although they were more commonly carved as imitations. Handles were mostly of cheap metal or brass. The ends of the bamboo canes were capped with stamped metal or turned bone, ivory or wooden discs. Methods of construction fell into three categories. First and most common is that of pegging. Bamboo stems being hollow, thick dowels can easily be glued into the joints. Some firms farmed out this work of `plugging' the ends of the canes to part-time workers at home. The second method, that of pinning, was far less satisfactory as bamboo tends to split lengthwise and therefore the jointed pieces eventually disintegrated. The most efficient method was that patented in 1888 (patent No 2383) by the firm of W. F. Needham in Birmingham. It consisted of metal shoes and covers for all joints which were made by wrapping a metal strip around the stems and soldering the overlapping ends. Some joints were further strengthened by a small pin or screw. Needham was by far the largest and most successful manufacturer and their individual and superior method of construction undoubtedly gained them their reputation. A. Englander & Searle of 34 Gt Eastern St and 31 Mare St, Hackney, London, were a firm particularly concerned with methods of construction. Although they seem to have entered the bamboo furniture market at a comparatively late date, about 1898, they produced inexpensive bamboo, aimed particularly at the export trade. The company stated in their catalogue that bamboo furniture “can be exported in one piece or it can be exported in pieces and put together again. The fixing up is much facilitated by a system of marking and numbering. Further, no glue is required for putting together as the screw system only is applied”. This method of construction best fits the Etagere in the Flagstaff collection and it is believed to have been made by A Englander & Searle, exported in a knock down form to Australia, purchased in kit form from a dealer hear and put together by the owner. The Etagere is a significant item as it highlight furniture fashion of the late Victorian era. This item was highly sort after in its time and although mass produced, not many examples remain, so this example is a valuable addition to the Flagstaff collection. It is believed that the construction method used is by a notable and respected maker of bamboo furniture and that its production was aimed at the export market and probably came to Australia in kit form.Bamboo shelves: decorative free standing Etagere comprising three large shelves and one small shelf. Shelves are made of wood used to store either orange or bacon boxes (as there are no knots in the wood, imported from South America and cheap to recycle). Shelves are covered with embossed leather paper. Frame is made from tortoise shell bamboo (brown lacquer applied to simulate tortoise shell appearance). Ends of bamboo canes are covered with metal shoes and fixed with a pin. Other bamboo joints are fixed with round head steel screws. This item is part of the Giles Collection.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bamboo shelves, bamboo etagere, victorian furniture, furniture, bamboo furniture, embossed leather paper, simulated bamboo, tortise shell, a englander & searle, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture

Josiah Wedgwood (1730–95), came from an established family of potters and trained with his elder brother. He was in partnership with the leading potter Thomas Whieldon from 1754 until 1759 when a new green ceramic glaze he had developed encouraged him to start a new business on his own. Relatives leased him the Ivy House in Burslem, Stoke-on-Trent, and his marriage to Sarah Wedgwood, a distant cousin with a sizeable dowry, helped him launch his new venture. After an extensive and systematic program of experiment Wedgwood in 1765 created a new variety of creamware, a fine glazed earthenware, which was the main body used for his table wares thereafter. After he supplied Queen Charlotte with a tea set for twelve the same year, she gave official permission to call it "Queen's Ware" (from 1767). This new form, perfected as white pearlware (from 1780), sold extremely well across Europe, and to America. It had the additional advantage of being relatively light, saving on transport costs and import tariffs in foreign markets. Wedgwood developed several further industrial innovations for his company, notably a way of measuring kiln temperatures accurately, and several new ceramic bodies including the "dry-body" Stoneware, "black basalt" (by 1769), cane ware, and jasperware (the 1770s), all designed to be sold unglazed, like "biscuit porcelain". In the later 19th century the company returned to being a leader in the design and technical innovation, as well as continuing to make many of the older styles. Despite increasing local competition in its export markets, the business continued to flourish in the 19th and early 20th centuries, remaining in the hands of the Wedgwood family, but after World War II it began to contract, along with the rest of the English pottery industry. After buying several other Staffordshire ceramics companies, in 1987 Wedgwood merged with Waterford Crystal to create Waterford Wedgwood plc, an Ireland-based luxury brands group. After a 2009 purchase by KPS Capital Partners, a New York-based private equity firm. Wedgwood has always been associated with fine china, porcelain, and luxury accessories, the entrepreneur Josiah Wedgwood rapidly became successful and was soon one of the largest manufacturers of Staffordshire pottery. Wedgwood is a significant pottery manufacturer as the company is especially associated with the "dry-bodied" (unglazed) stoneware Jasperware in contrasting colours, and in particular that in "Wedgwood blue" and white that has become a trademark. Teapot and lid, Wedgwood blue Jasperware with white patternImpressed name Wedgewood and date letter "S" = 1890flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, teapot, wedgewood blue, wedgewood teapot, tea pot, kitchen ware, josiah wedgwood, staffordshire potteries

The following are the recollections of John Elkins, who started school in February, 1945 at Maryborough in Queensland, Australia. 'I think in Prep 1 that we had some paper to write on with pencils, but my memory of the routine use of slates is much more vivid. Each slate was framed in wood and one side was inscribed with lines to guide the limits for the upper and lower extremities of letters. The slate "pencils" were made of some pale gray mineral softer than slate which had been milled into cylinders some one-eighth of an inch in diameter and inserted into metal holders so that about an inch protruded. Each student was equipped with a small tobacco tin in which was kept a damp sponge or cloth to erase the marks. Sharpening slate pencils was a regular task. We rubbed them on any suitable brick or concrete surface in the school yard. Teachers also kept a good supply of spares, all writing materials and books being provided by the school. It is possible that the retention of slates stemmed from the political imperative that public education should be free. I do recall being given a Copy Book for home practice of letter formation, a typical practice until Grade 6. The tables at which we used to sit in the Infant School were replaced in the primary Grades by long desks seating five or six pupils. These had slots into which the slates could be inserted vertically. When the teacher asked the class to clear their desks, the command issued was "slates away!" This was an occasion for a noisy expression of relief as we dropped the slates producing a sound not unlike a volley of rifle shots, and usually brought a request from the teacher to repeat the process with no noise by holding the frames throughout. Thus, I suspect we may still have used slates in Grade Three, though by then paper, which may have been scarce during the War, seemed to be used more routinely.' The full context of John's account of writing during his primary school days can be found at: https://www.readinghalloffame.org/sites/default/files/history_of_literacy_22slates_away22_penmanship_in_queensland_australia.pdfSchool desks and benches/chairs have been in use in schools since formal group education started.Eight long school desks (five higher three lower), each with four inkwells and groove along length. eight school benches (five higher three lower). Each desk and bench accommodates four children.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This book with a foreward by Ivan W Alcorn, Governor-General, and an introduction by W K Hocking was prepared by the General Court of Australasia of the Methodist Order of Knights. It has the following chapters: I. Brief history of the order II. Objects, control and organisation III. How to establish a court IV. Order of meeting for Pages' Court V. Merit badge tests VI. Badge presentation service VII. Service of Dedication for Officers VIII. Bibliography The Methodist Order of Knights was the official youth organisation of the Methodist Church of Australasia. It originated in Hurstville, NSW, on the 4th October 1914 by the then Mr and later Rev Alex Bray. Alex Bray was a Sunday School teacher and spoke to his class of the Knights of the Round Table. In 1917 the Order of Knights was officially recognised by the Sunday School Dept of the NSW Methodist Conference. Courts spread thoroughout Australia. In 1927 the High Court of NSW called for designs for a badge and in 1929 the General Conference of the Methodist Church of Australasia recognised the Order as an approved Organisation. In 1938 the Senior Section was organised into Degrees of Sincerity, Service and Sacrifice; the Junior Section into Pages' Degree with advancement to Esquire. In 1954 the Junior Section was reorganised into two groups: Pages 8 to 11 years and Esquires 12 to 15 years. The Knight's Motto: "Live Pure, Speak True, Right Wrong, Follow Christ the King, else wherefore born?" Courts of the Order: General Conference Department of the Christian Education - General Court - Provincial High Court - District Court - Local Court - Senior Court - Intermediate Court - Junior Court . Regalia: All members of the Intermediate and Senior Courts wore regalia consisting of a cloth shield superimposed by a cross of light and dark blue ribbons, and supported by a cloth collar. Esquire and Degree of Sincerity regalia: White collar and white shield. Degree of Service regalia: Green collar and shield. Degree of Sacrifice: Scarlet collar and shield. District Court regalia: Blue collar and gold shield. High Court regalia: Gold collar and purple sheild. General Court regalia: Purple collar and shield. Officers of the local courts wore their symbols as part of their regalia. MOK 239.1 46 page handbook' The cover has the Methodist Order of Knights symbol, 1957. MOK 239.2 has the W.F.Davies D.R.C. written on the top right of the cover. methodist order of knights, ivan w alcorn, w k hocking

This booklet commemorates 50 years of the Methodist Order of Knights. It has a message from the Founder, A.W.Bray; lists past Knight Commanders of Hurstville No 1 Court "Sir Lancelot"; the order of morning service at Hurstville for Golden Jubliee Sunday, 4 October 1964 and a message from F Trafford Walker, Superintendent of the Hurstville Circuit. The Methodist Order of Knights was the official youth organisation of the Methodist Church of Australasia. It originated in Hurstville, NSW, on the 4th October 1914 by the then Mr and later Rev Alex Bray. Alex Bray was a Sunday School teacher and spoke to his class of the Knights of the Round Table. In 1917 the Order of Knights was officially recognised by the Sunday School Dept of the NSW Methodist Conference. Courts spread thoroughout Australia. In 1927 the High Court of NSW called for designs for a badge and in 1929 the General Conference of the Methodist Church of Australasia recognised the Order as an approved Organisation. In 1938 the Senior Section was organised into Degrees of Sincerity, Service and Sacrifice; the Junior Section into Pages' Degree with advancement to Esquire. In 1954 the Junior Section was reorganised into two groups: Pages 8 to 11 years and Esquires 12 to 15 years. The Knight's Motto: "Live Pure, Speak True, Right Wrong, Follow Christ the King, else wherefore born?" Courts of the Order: General Conference Department of the Christian Education - General Court - Provincial High Court - District Court - Local Court - Senior Court - Intermediate Court - Junior Court . Regalia: All members of the Intermediate and Senior Courts wore regalia consisting of a cloth shield superimposed by a cross of light and dark blue ribbons, and supported by a cloth collar. Esquire and Degree of Sincerity regalia: White collar and white shield. Degree of Service regalia: Green collar and shield. Degree of Sacrifice: Scarlet collar and shield. District Court regalia: Blue collar and gold shield. High Court regalia: Gold collar and purple sheild. General Court regalia: Purple collar and shield. Officers of the local courts wore their symbols as part of their regalia.Blue covered booklet celebrating the 50th year, golden jubliee, of the Methodist Order of Knights founded in 1914. Twenty-eight typewritten pages with a central double glossy pages of photographs. The booklet is held together with three staples.methodist order of knights, alec w bray, f trafford walker, hurstville methodist church

This scarf belonged to Olga Black, a longtime Brighton resident. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Victory scarf with the flags of France, the United Kingdom, USA and the USSR. 'Victory' printed in yellow in the centre surrounded by names of countries and regions.scarf, world war ii, second world war, 1945, olga black

This is a set of 10 photographs of Cartographic Squadron technicians undertaking map production tasks in at the Army Survey Regiment, Fortuna, Bendigo circa 1968 to 1975. Production was undertaken on the top floor of Fortuna Villa. The Fotosetter type setting machine shown in photos .1P and .2P. replaced the letterpress method of type production in 1956. CPL Arty Lane specialised in the operation of the Fotosetter type setting machine for many years. For more information on the Fotosetter, see page 71 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. The computer based Editwriter Model 7500 typesetting system shown in photos .3P and .4P. was introduced in 1975 as a replacement to the aging Fotosetter. It was operated by a specialised technician, who generated a large variety of map type styles and sizes quickly and reliably, as well as text panels. Output on Copy proof adhesive backed stripping type film replaced messy wax and spray adhesives in 1978. The Editwriter capability supported all RASvy units and its contractor type setting requirements. The Aristo Co-ordinatorgraph shown in photos .5P to .7P was introduced in 1962. It was a large heavy steel framed light table with a scribing head that moved in a XY direction using a vernier calibrated measuring scale to 0.001 of an inch. Whilst hand operated it was much quicker and accurate than manual grid and graticule calculation, plotting and scribing. The history of co-ordinatorgraphs is covered in more detail with additional historic photographs, in pages 50 to 51 and page 88 of Valerie Lovejoy’s book 'Mapmakers of Fortuna – A history of the Army Survey Regiment’ ISBN: 0-646-42120-4. The scribing process as shown in photos .8P to .9P was the cartographic process of drafting features such as drainage, relief, vegetation, roads and culture on specially coated map reproduction material. The cartographic technician scribed out the map feature such as a contour to a specified line width on the map sheet, using a tool affixed with a sapphire tipped cutter. The quality control edit (Proving) stage of map production shown in photo .10P was the first opportunity to independently and systematically inspect a proof of the map.This is a set of 10 photographs of cartographic Squadron technicians undertaking map production tasks at the Army Survey Regiment, Fortuna, Bendigo, c1968 to c1975. The photographs were on 35mm colour slides and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .2) - Photo, colour, c1968, Fotosetter type setting machine, CPL Arty Lane. .3) to .4) - Photo, colour, c1975, Typesetting machine, ‘Editwriter’ Model 7500. .5) - Photo, colour, c1960s, PTE Desi Asaris and CPL Kalen Sargent operating Aristo Co-ordinatorgraph equipment. .6) - Photo, colour, c1970s, L to R: CPL Desi Asaris, CPL John Bennett, operating Aristo Co-ordinatorgraph equipment. .7) - Photo, colour, c1970s, L to R: CPL John Bennett, CPL Desi Asaris operating Aristo Co-ordinatorgraph equipment. .8) - Photo, colour, c1970s, L to R: CPL Desi Asaris scribing drainage, CPL John Bennett. .9) - Photo, colour, c1970s, CPL Desi Asaris scribing drainage. .10) - Photo, colour, c1970s, L to R: CPL Desi Asaris, CPL John Bennett and their supervisor WO2 Roger Rix inspecting features on an aeronautical chart proof. .1P to .10P There are no annotations stored with the 35mm slides.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, carto

Caulking is the traditional technique used on wooden vessels built with butted or clinker-built planks to fill the gaps between these planks while still allowing the wood to flex and move. This involved driving the irons, hammered in with the mallet, deep into the seams to open them up. After this, spun yarn, oakum (hemp) or cotton was driven deep into the gaps. The hemp or cotton was soaked in creosote or pine tar to make the joins watertight. Caulking also played a structural role in tightening up the hull or deck by reducing the longitudinal movement of the neighbouring planks. William Marples junior joined his father's joinery making business in 1821. In 1860 William's sons joined him and the firm became William Marples and sons. Over the years they acquired John Moseley & Sons a London plane maker and Thomas Ibbotson & Co a Sheffield edge tool maker. Growing to become the most prolific and best known Sheffield tool maker. Their large factory was known as the Hibernia Works. Their trademark was a shamrock that appeared on some of their tools, in 1961 they had about 400 employees. In 1962 the record Tool Company and William Ridgway acquired a fifty percent interest in the company and in 1972 the companies merged with several others to form Ridgway Tools Ltd. After 116 years at its Hibernia Works, the company was moved to Dronfield. A 1982 takeover by A G Bahco of Sweden was short-lived and in 1985 Record Ridgway returned to British ownership first as Record Marples Woodworking Tools Ltd. In 1988 then as Record Holdings PLC in 1993. In 1998 the company accepted a bid from American Tool Corporation, subsequently trading as Record Irwin. The Irwin company itself was acquired by Newell Rubbermaid in 2002 and renamed Irwin Industrial Tool Co. Both the Marples and Record names were re-branded "Irwin" However the name has since been resurrected as Irwin/Marples and applied to wood chisels and table saw blades now made at their new facility in Udine, Italy. As a footnote, William Marples was the uncle of Robert Marples and Joseph Marples, both of whom established competing tool making businesses in Sheffield. The Robert Marples firm disappeared early in the 20th century. After several changes in the company's ownership tools are now made under the Ridgway name but in China. A tool made by a company with a long family history of tool making in Sheffield England, with a member of the Marples family, Joseph Marples establishing a competing tool company which continues today to manufacture quality products for the joinery and shipwrights trades.Caulking tool straight wide blade, Stamped "W Marples & Sons" & James S Steele tool box.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, caulking tool, caulking iron, james s steele

Glass manufacturing has evolved over thousands of years. Glass making has been traced back to 3500 BC in Mesopotamia. The earliest known glass objects were beads, perhaps made by accident while working with metal. In the late Bronze Age, several civilizations discovered how to make vessels and glass bottles by wrapping threads of melted glass around cores of sand or clay. Later, moulds were used to form dishes and table wares. Around the 1st century BC, glassblowing was discovered. This made glass containers less expensive than pottery. Mould-blown glass, the process of blowing a piece of molten glass into a wooden or metal mould, was invented during the 1st century AD. This technique was faster with more consistent results. It paved the way for mass production. It wasn’t until the late 1800s that the production process to become more efficient. In 1887, a company in England created a semi-automatic process that could produce up to 200 bottles an hour. This process has been refined to the point where modern machines can yield more than 600 containers per minute. Blown vs. Manufactured Glass Bottles Nowadays, glass bottles, jars, and cups are usually manufactured on a bigger scale than is found in individual glassblowing studios. If we still depended on hand-blown glass for all of our glass containers, we would see some major differences in the process of creating bottles and jars. First, there's the time. Hand blowing glass takes a significant amount of time, even for one simple container. In contrast, hundreds of jars per minute can be made using modern technology. This leads to the second advantage: price. Because of the automated and streamlined process, the price for manufactured containers is much lower than that of hand-blown glass. Third, manufactured bottles will be much more consistently uniform than bottles blown by hand. Automated glass manufacturing produces nearly identical batches of jars. Glass blowing is awesome for unique, beautiful pieces of art. But for lots of lower priced and uniformly shaped containers, automatic manufacturing is the preferred method to create glass bottles and jars. https://www.containerandpackaging.com/resources/glass-bottles-brief-history The invention and development of glass for domestic items including bottles, has been nothing short of revolutionary. The use of glass bottles, that could be easily washed, led to improved hygiene, and mass manufacturing of drinks of all types, including milk, cordial and alcoholic beverages.Green Glass Bottle Possibly a ginger beer bottle.Concave indentation at the base. Also on base are two raised lumps. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, glass

The Page's Pledge: I pledge my word and honour, to love God, to cheerfully help other people, and to try to live by the Page's Law. The Page's Law: 1. A Page regularly attends a Methodist Sunday School and Church. 2. A Page tries to grown up to full manhood. 3. A Page is loyal. 4. A Page is faithful and honest at all times. 5. A Page tries to be a good citizen. 6. A Page is kind and polite to people. 7. A Page is clean in thought, word and deed. The Methodist Order of Knights was the official youth organisation of the Methodist Church of Australasia. It originated in Hurstville, NSW, on the 4th October 1914 by the then Mr and later Rev Alex Bray. Alex Bray was a Sunday School teacher and spoke to his class of the Knights of the Round Table. In 1917 the Order of Knights was officially recognised by the Sunday School Dept of the NSW Methodist Conference. Courts spread thoroughout Australia. In 1927 the High Court of NSW called for designs for a badge and in 1929 the General Conference of the Methodist Church of Australasia recognised the Order as an approved Organisation. In 1938 the Senior Section was organised into Degrees of Sincerity, Service and Sacrifice; the Junior Section into Pages' Degree with advancement to Esquire. In 1954 the Junior Section was reorganised into two groups: Pages 8 to 11 years and Esquires 12 to 15 years. The Knight's Motto: "Live Pure, Speak True, Right Wrong, Follow Christ the King, else wherefore born?" Courts of the Order: General Conference Department of the Christian Education - General Court - Provincial High Court - District Court - Local Court - Senior Court - Intermediate Court - Junior Court . Regalia: All members of the Intermediate and Senior Courts wore regalia consisting of a cloth shield superimposed by a cross of light and dark blue ribbons, and supported by a cloth collar. Esquire and Degree of Sincerity regalia: White collar and white shield. Degree of Service regalia: Green collar and shield. Degree of Sacrifice: Scarlet collar and shield. District Court regalia: Blue collar and gold shield. High Court regalia: Gold collar and purple shield. General Court regalia: Purple collar and shield. Officers of the local courts wore their symbols as part of their regalia. White card with red and blue text and an image of Jesus, a knight on one knee and a boy standing in front a cross and tree.methodist order of knights

The Knight's Motto: Live pure, speak true, right wrong, follow the Christ the King - Else wherefore born? The Esquire's Law: 1. An Esquire believes in Jesus Christ as his Leader and Friend, and regularly attends a Christian Sunday School and Church. 2. An Esquire strives to attain full manhood in body, and mind, heart and spirit. 3. An Esquire is loyal 4. An Esquire is faithful and honest at all times. 5. An Esquire endeavours to be a good citizen. 6. An Esquire is kind and polite to all people. 7. An Esquire is clean in thought, word and deed. The Methodist Order of Knights was the official youth organisation of the Methodist Church of Australasia. It originated in Hurstville, NSW, on the 4th October 1914 by the then Mr and later Rev Alex Bray. Alex Bray was a Sunday School teacher and spoke to his class of the Knights of the Round Table. In 1917 the Order of Knights was officially recognised by the Sunday School Dept of the NSW Methodist Conference. Courts spread thoroughout Australia. In 1927 the High Court of NSW called for designs for a badge and in 1929 the General Conference of the Methodist Church of Australasia recognised the Order as an approved Organisation. In 1938 the Senior Section was organised into Degrees of Sincerity, Service and Sacrifice; the Junior Section into Pages' Degree with advancement to Esquire. In 1954 the Junior Section was reorganised into two groups: Pages 8 to 11 years and Esquires 12 to 15 years. The Knight's Motto: "Live Pure, Speak True, Right Wrong, Follow Christ the King, else wherefore born?" Courts of the Order: General Conference Department of the Christian Education - General Court - Provincial High Court - District Court - Local Court - Senior Court - Intermediate Court - Junior Court . Regalia: All members of the Intermediate and Senior Courts wore regalia consisting of a cloth shield superimposed by a cross of light and dark blue ribbons, and supported by a cloth collar. Esquire and Degree of Sincerity regalia: White collar and white shield. Degree of Service regalia: Green collar and shield. Degree of Sacrifice: Scarlet collar and shield. District Court regalia: Blue collar and gold shield. High Court regalia: Gold collar and purple shield. General Court regalia: Purple collar and shield. Officers of the local courts wore their symbols as part of their regalia. E3112.14.1 and E3112.14.2: White card with red and blue text and an image of Jesus, a knight on one knee and a boy standing in front a cross and tree.methodist order of knights

Made by the cousin of Brighton local Olga Black. The cousin gave her the doll in 1937, when Olga was around seven years old. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Handmade painted wooden bead doll representing a sailor. Cream coloured body and limbs and pink head. The body is made from one long oval bead and the limbs from small round beads.doll, child's toy, childhood, sailor, olga black

This waistcoat belonged to Olga Black, a long-time Brighton resident. Part of a Greek national costume, it was designed by Olga in the 1950s, with the silver cornelli work completed by a Collins Street workshop. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Black velvet waistcoat, decorated with silver cornelli work. Pale blue cotton lining. Fastens with hooks and eyes.greece, ithaca, migration, olga black

Silk blouse made by Toula Mavrokefalos, the mother of long-time Brighton resident Olga Black. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Cream silk short-sleeved blouse. Hand embroidered around inside of stand collar, centre front panel and sleeve edge in red, blue, black and green floral and geometric design.migration, ithaca, romania, olga black, toula mavrokefalos, toula black

This top was made by Toula Mavrokefalos Black (nee Raftopoulos) as a teenager living in Romania. It was intended to be worn under suit jackets. Her daughter, Olga Black, is a longtime Brighton resident. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Long-sleeved top of cream georgette with high round neck. Front features three handmade rectagular lace panel inserts, surrounded with floral cross stitch embroidery in red, blue, black and greentoula mavrokefalos, toula black, olga black, migration, embroidery

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork

Kindly scanned from Ringwood Branch archival collectionTranscript (kindly completed by Ken Briscoe using ChatGPT) During the second World War, a group of Ringwood ladies sent tins of fat to England. When the War ended in 1946, the Mayoress, Mrs. H.E. Parker, called a meeting and a branch of the Country Women's Association was formed. The subscription was four shillings and two shillings for associate members. Meetings were held in the lower Town Hall, the President and Secretary sat on the stage, the Treasurer at a table on the floor and the hostess at the door to welcome members. Birthdays were held in the Town Hall. There was an active drama group who performed at competitions. After the Olympic Games in Melbourne in 1956, members re-enacted some of the events. A yearly ball was held for several years. Members catered for the Scout Jamboree. They looked after victims of the bush fires - the Town Hall was covered in beds. Mrs. Pratt, Senior, whose husband took up a selection in Ringwood, gave a block of land to the C.W.A., but the late Councillor Mr. Frank Corr, told his wife (a member) that the Council would not permit a hall to be built on this land so the block was sold to the Masonic Lodge for 250 pounds. Cards were enjoyed monthly in the Presbyterian Church Hall in Adelaide Street. Craft group met in the Church of England Hall in Ringwood Street.

Light grey card folder manufactured by the Roneo Printing Works of Rumford England with the file title "Fire Switches, glued to the top of the folder on the inside back cover. Contains many memos from the MMTB Traffic Managers, Depot Managers about the arrangements for the visit of the Royal Highnesses the Duke and Duchess of York in April 1927. Also contains memo re cable tram arrangements for this event from Port Melbourne depot, arrangements for Christmas holidays and other holidays from about 1924 to 1944, including a map of the procession and printed programs by the Government Printer. Documents either typed or hand written. Other documents include (Sample only): Camberwell extra for December 1944 Shopping Week Memos re traffic arrangements and shunting of trams for the 8 hour day procession Tables for Cable car operations from Port Melbourne depot 5/7/1925 Handwritten car timetables Costs associated with the royal visit Proposed service arrangements for Coburg Lines Christmas and New Year 1929 Cuttings regarding shopping hours for 1929-1930 Football posters - special trams - 1931 and 1932 All Night services - destination rolls to specific bogie trams Memos regarding cancelling of leave in Dec. 1941 Memos regarding services to Fisherman's bend and factory hours - 1941 - 42 Holiday loading returns for Southern System - 1941 Memo re timing of trams from city terminus account 3KZ Christmas Eve Choral festivaltrams, tramways, mmtb, port melbourne depot, notices and information, cable trams, holiday arrangements, royal visit, timetables, world war 2, football, all night services

Herbert Trangmar ALLAN, refer Cat No 2755.4 for his extensive service records and awards. .3) Taken during his appointment to Headquarters of the Command & Staff School, 2nd Military District. .7) Col H T ALLAN former commander of the Pacific Islands Regiment. .10) See newspaper articles 3046.52 & 3046.53 a., b., c. .11) - .14) See newspaper articles 3046.52 & 3046.53 a., b., c. .16) The flap staff was donated by the Royal Papua & New Guinea Constabulary. See newspaper articles 3046.52 & 3046.53 a., b., c. Th photos are of various sizes with an average as per the size field. .1) Black & white full length photo of Capt Herbert T ALLAN, 17th Battalion, in Australian Army uniform from WWI, location unknown. .2) Black & white studio portrait of Herbert T ALLAN in suit & tie. Photo is mounted on cream card with a khaki border. Photo is secured in a cream card folder. .3) Black & white photo of a group of Australian Army Officers in uniform. Front row seated, rear / middle rows standing. Herbert T ALLAN seated front row 2nd from right. Headquarters of Command & Staff School in background. .4) Black & white photo of a battalion of soldiers marching down a street with sloped rifles & fixed bayonets. Battalion led by an Officer most likely to be Herbert T ALLAN. Solder on horseback in foreground. Civilian observers line the street. .5) Black & white photo of an Australian Army Officer, most likely Herbert T ALLAN, standing in front of a tent in New Guinea. .6) Black & white photo of Col Herbert T ALLAN seated, taken in New Guinea. .7) Black & white photo of Col H T ALLAN talking to 3 New Guinea natives who are possibly former members of the Pacific Islands Regiment. .8) Black & white photo of Col H T ALLAN & his New Guinean driver in an Australian Base Command jeep. .9) Black & white photo of New Guinean spectators at the opening of the Rabaul Ex-Servicemen's Club. .10) Black & white photo of Col Herbert T ALLAN with a group of PNG Ex-Servicemen. All are wearing medals. To the immediate left of Col Herbert T ALLAN is Raymond Martin, Club President. On wall behind is a rifle donated by Capt R CLAMMER of Rabaul Police. .11) Black & white photo of a presentation table to the Rabaul Ex-Servicemen, by the New Britain Boy Scouts. Club President, Raymond Martin is receiving the table with Colonel Herbert T ALLAN looking on. .12) Black & white photo of Rabaul Ex-Servicemen's Club President, Raymond Martin making a speech at the Club's opening with Colonel Herbert T ALLAN, a Naval Officer & a group looking on. Group is in front of PNG Rabaul Branch of Native Ex-Servicemen's Association building. .13) Black & white photo of the parade of PNG Ex-Servicemen, Boy Scouts & spectators at the opening of the Rabaul Ex-Servicemen's Club. .14) Black & white photo of Colonel Herbert T ALLAN inspecting a parade of PNG Ex-Servicemen at the opening of the Rabaul Ex-Servicemen's Club. .15) Black & white photo of the official party at the opening of the Papua & New Guinea Rabaul Branch Native Ex-Servicemen's Club. .16) Black & white photo of Colonel Herbert T ALLAN raising the Australian flag in front of a parade of PNG Ex-Servicemen, Boy Scouts & spectators at the opening of the Rabaul Ex-Servicemen's Club. .1) Handwritten on back: Armistice Day Nov 11th 1918. Hence the smile. .2) Printed on folder front: Portrait study by Howard Harris. Handwritten on back: Blue Allan. .3) On front: Handwritten 'X' below H T ALLAN. On back: Stamp of S J Hood photographer detailing order No 1. .5) Handwritten in pencil on back: Return to I Marsh Woolgoolga. .6) Stamped in blue ink on back: Photograph No MH 75552 Supplied by Military History Section (SD?) General? LHQ For official purpose ONLY NOT TO BE PUBLISHED .7) Stamped in blue ink on back: Photograph No MH 75553 Supplied by Military History Section (SD?) General? LHQ For official purpose ONLY NOT TO BE PUBLISHED Handwritten in pencil on back: Return to I Marsh Woolgoolga. .8) Stamped in blue ink on back: Photograph No MH 75556 Supplied by Military History Section (SD?) General? LHQ For official purpose ONLY NOT TO BE PUBLISHED photographs, articles, pacific, new guinea

This is a set of 14 photographs of a 4th Field Survey Squadron Officers, Warrant Officers and Sergeants Formal Dinner held at Keswick Barracks, Adelaide SA in 1990. This formal dinner was held to commemorate the 75th anniversary of the formation of the Royal Australian Survey Corps. It is apparent there were visiting personnel from the Army Survey Regiment and other unidentified units. See item 6556.8P for photos taken at 4th Field Survey Squadron commemorating the 75th anniversary.This is a set of 14 photographs of a 4th Field Survey Squadron Officer, Warrant Officer and Sergeant’s Formal Dinner held at Keswick Barracks, Adelaide SA in 1990. The colour photographs are on 35mm negative film and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 96 dpi. .1) - Photo, colour, 1990. L to R: SSM WO1 Alan Toogood - Dining President, SGT Peter Hardy – Mr Vice. .2) - Photo, colour, 1990. Guest Arrival. L to R: unidentified officers (x2), unidentified guests (x2), SGT Peter Hardy – Mr Vice, unidentified guest. .3) - Photo, colour, 1990. Guest Arrival. L to R: unidentified guest, unidentified SNCO & senior officer, unidentified guests (x3), SGT Peter Hardy – Mr Vice. .4) - Photo, colour, 1990. Guest Arrival. L to R: unidentified guest, LTCOL George Ricketts (Ret), SSM WO1 Alan Toogood - Dining President, SGT Peter Hardy – Mr Vice. .5) - Photo, colour, 1990. Guest Arrival. L to R: LTCOL Rene van den Tol - CO Army Svy Regt, unidentified guest, SGT Peter Hardy – Mr Vice. .6) - Photo, colour, 1990. Guest Arrival. L to R: SGT Peter Hardy – Mr Vice, probably the RSM of Keswick Barracks. .7) - Photo, colour, 1990. Guest Arrival. SGT Jamie McRae and partner. .8) - Photo, colour, 1990. Guest Arrival. SGT John Zuringer and partner. .9) - Photo, colour, 1990. Head table facing camera L to R: unidentified guest, LTCOL George Ricketts (Ret), unidentified guest, SSM WO1 Alan Toogood - Dining President. Unidentified officer & guests in foreground. .10) - Photo, colour, 1990. Head table facing camera L to R: LTCOL George Ricketts (Ret), unidentified guest, SSM WO1 Alan Toogood - Dining President, OC MAJ Laurie Newton, unidentified officer & guests. Unidentified guests in foreground. .11) - Photo, colour, 1990. Facing camera right of candlesticks L to R: CAPT Danny Galbraith, unidentified guest, SGT Stu Symonds, Tracey Phillips, SGT John Zuringer. .12) - Photo, colour, 1990. Facing camera L to R: WO1 Bill Griggs, unidentified guest, SGT Steve Winner, unidentified guest, SSGT Peter Hammer, unidentified guest, LTCOL Rene van den Tol - CO Army Svy Regt, unidentified guest, SGT John Phillips. Remainder unidentified. .13) - Photo, colour, 1990. Facing camera L to R: unidentified guest, SGT Jamie McRae, unidentified guest, SGT Peter Hardy – Mr Vice. Remainder unidentified. .14) - Photo, colour, 1990. Facing camera L to R: unidentified guests, Mr Darby Munro (behind candlestick), unidentified guest, SGT Eddie Jacobs, unidentified senior officer, unidentified guest, CAPT Tony Stephens. Remainder unidentified. .1P to .14P – There are no personnel identified. ‘1990 CORPS BIRTHDAY’ annotated on negatives sleeve.royal australian survey corps, rasvy, 4 fd svy sqn

This dessert spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This dessert spoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored dessert spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bent stem and buckled bowl. Only 5% of original plate remains and base metal exhibits cu, fe, zi, oxidisation in bright spots. Some verdigris and an amount of encrustation on front and back of the spoon. Outlines of five makers marks are visible - Crown, Elipse, Rounded square, Circle, Diamond.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, spoon