Before the introduction of electricity, lighthouses had a clockwork mechanism that caused the lens to rotate with a light source inside that was either powered by Kerosene or Colza oil. The mechanism consisted of a large weight attached by a cable through the centre of the lighthouse to the top where the cable wrapped around a barrel, drum or wheels that controlled the speed of the lights rotation by a clockwork mechanism. The keeper would crank the clockwork mechanism, which would lift the weight ready for the next cycle similar to an old grandfather clock mechanism. Once the weight lifted to its apex at the bottom of the first landing, the keeper would let it fall, which would pull on the cable, which would, in turn, operate a series of gears activating the rotation of the Fresnel optical lens, which would then rotate to create the lighthouse’s unique light speed of rotation characteristic. Creating a specific characteristic required a way to regulate the speed of the rotation, and was important as sailors could identify a particular light by its speed and time between flashes. The weight had to fall at a certain rate to create the proper rotation speed of the lens and a regulator within the mechanism accomplished this. History: From 1851, Chance Brothers became a major lighthouse engineering company, producing optical components, machinery, and other equipment for lighthouses around the world. James Timmins Chance pioneered placing lighthouse lamps inside a cage surrounded by Fresnel lenses to increase the available light output these cages, are known as optics and they revolutionised lighthouse design. Another important innovation from Chance Brothers was the introduction of rotating optics, allowing adjacent lighthouses to be distinguished from each other by the number of times per revolution the light flashes. The noted English physicist and engineer, John Hopkins invented this system while employed at Chance Brothers. Chance Brothers and Company was a glass works and originally based in Spon Lane, Smethwick, West Midlands England. The company became a leading glass manufacturer and a pioneer of British glass making technology. The Chance family originated in Bromsgrove as farmers and craftsmen before setting up a business in Smethwick near Birmingham in 1824. They took advantage of the skilled workers, canals and many other industrial advances taking place in the West Midlands at the time. Robert Lucas Chance (1782–1865), known as 'Lucas', bought the British Crown Glass Company's works in Spon Lane in 1824. The company specialised in making crown window glass, the company ran into difficulty and its survival was guaranteed in 1832 by investment from Chance's brother, William (1788 – 1856). William owned an iron factoring business in Great Charles Street, Birmingham. After a previous partnership that Lucas had dissolved in 1836, Lucas and William Chance became partners in the business which was renamed, Chance Brothers and Company. Chance Brothers invented many innovative processes and became known as the greatest glass manufacturer in Britain. In 1848 under the supervision of Georges Bontemps, a French glass maker from Choosy-le-Roi, a new plant was set up to manufacture crown and flint glass for lighthouse optics, telescopes and cameras. Bontemps agreed to share his processes that up to then had been secret with the Chance Brothers and stayed in England to collaborate with them for six years. In 1900 a baronetcy was created for James Timmins Chance (1814–1902), a grandson of William Chance, who had started the family business in 1771 with his brother Robert. Roberts grandson, James became head of Chance Brothers until his retirement in 1889 when the company became a public company and its name changed to Chance Brothers & Co. Ltd. Additional information: Lighthouses are equipped with unique light characteristic or flashing pattern that sailors can use to identify specific lighthouses during the night. Lighthouses can achieve distinctive light characteristics in a few different ways. A lighthouse can flash, which is when brief periods of light interrupt longer moments of darkness. The light can occult, which is when brief periods of darkness interrupt longer moments of light. The light can be fixed, which is when the light never goes dark. A lighthouse can use a combination of flashing, oscillating, or being fixed in a variety of combinations and intervals to create individual light characteristics. It is a common misconception that a lighthouse's light source changes the intensity to create a light characteristic. The light source remains constant and the rotating Fresnel lens creates the various changes in appearance. Some Fresnel lenses have "bulls-eye" panels create beams of light that, when rotated between the light and the observer, make the light appear to flash. Conversely, some lenses have metal panels that, when rotated between the light and the observer, make the light appear to go dark. This Dioptric clockwork apparatus used to turn a lighthouse optical lens is very significant as it is integral to a lighthouses operation, we can also look at the social aspect of lighthouses as being traditionally rich with symbolism and conceptual meanings. Lighthouses illustrate social concepts such as danger, risk, adversity, challenge and vigilance but they also offers guidance, salvation and safety. The glowing lamp reminds sailors that security and home are well within reach, they also symbolize the way forward and help in navigating our way through rough waters not just on the oceans of the world but in our personal lives be it financial, personal, business or spiritual in nature. Nothing else speaks of safety and security in the face of adversity and challenge quite the way a lighthouse does. Revolving dioptric clockwork apparatus used to turn a Fresnel optical lighthouse lens. A cylindrical cast metal pillar and cabinet painted green with 3 glass doors enclosing the top section. Inside the pillar/cabinet is a large clockwork mechanism used to turn and regulate a lighthouse light by means of weights and a chain attached to same. One door has the name "Adams Mare" in metallic dots similar to "Braille" to the inside edge of door frame.shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, flagstaff hill, maritime-museum, shipwreck-coast, warrnambool, flagstaff-hill-maritime-village, revolving dioptric mechanism, dioptric mechanism for lighthouse, lighthouse clockwork timing mechanism, acetylene lighthouse light mechanism, 19th century lighthouse mechanism, kerosene light, fresnel lenses, colza oil, chance brothers

A smoothing plane is typically used after the work piece has been flattened and trued by the other bench planes, such as the jack, fore, and joiner planes. Smoothing planes can also be used to remove marks left by woodworking machinery. When used effectively alongside other bench planes, the smoothing plane should only need a handful of passes removing shavings as fine as 0.002 inches (0.051 mm) or less. The work piece is then ready to be finished, or can be further refined with a card scraper or sandpaper. The smoothing plane is usually held with both hands, and used in a similar manner to the other bench planes. Though designed for smoothing, a smoothing plane can be used as an 'all-round' bench tool and for rougher work depending on how it is set up. Being smaller than other bench planes, the smoothing plane is better able to work on smaller work pieces and around obstructions. Since the 1700s wooden smoothing planes have predominantly been 'coffin shaped' wider in the middle and slightly rounded making them more manoeuvrable. It has also been claimed that the coffin design exposes more end grain, enabling the plane to better adjust to changes in humidity. Henry Boker Maker: Heinrich "Henry" Böker of Reimschied-Solingen, Germany and his family was making tools in the 17th century. In 1829 Hermann and Robert Böker added sabres to the company's offerings, in 1837 they emigrated to New York City and established a firm to import German cutlery. H. Boker sabres would be eventually supplied to some American soldiers during the Civil War. Heinrich Boker in 1869 , a relative of Hermann and Robert, established a cutlery firm in Solingen, a centre of industry and cutting tool manufacturing in Germany. The company became a leader in the manufacture of razors, scissors and eating utensils. As early as 1900 the majority of tools produced by Boker were distributed in the U.S. market by the New York branch of the family, and pocket knives became the company's most important product line. During WWII the Solingen factory was destroyed and all the equipment and inventory was lost. After the war the factory was rebuilt and the company resumed operations, but in the early '60s the company was sold to the scissors manufacturer Wiss & Sons, and in the early 70s Wiss sold out to Cooper Industries. At some point Heinrich Boker adopted the Americanised version of his name, Henry Boker and was used as a brand name for the company's products. A vintage smoothing plane of the coffin pattern made by Henry Boker the item is a rare and significant example of vintage woodworking tools used in the manufacture of wooden items.Smoothing Plane Coffin design. Blade marked Henry Bokerflagstaff hill, warrnambool, maritime-museum, shipwreck-coast, smoothing plane, heinrich boker, carpenters tool, cabinet makers tool

A smoothing plane is typically used after the work piece has been flattened and trued by the other bench planes, such as the jack, fore, and joiner planes. Smoothing planes can also be used to remove marks left by woodworking machinery. When used effectively alongside other bench planes, the smoothing plane should only need a handful of passes removing shavings as fine as 0.002 inches (0.051 mm) or less. The work piece is then ready to be finished, or can be further refined with a card scraper or sandpaper. The smoothing plane is usually held with both hands, and used in a similar manner to the other bench planes. Though designed for smoothing, a smoothing plane can be used as an 'all-round' bench tool and for rougher work depending on how it is set up. Being smaller than other bench planes, the smoothing plane is better able to work on smaller work pieces and around obstructions. Since the 1700s wooden smoothing planes have predominantly been 'coffin shaped' wider in the middle and slightly rounded making them more manoeuvrable. It has also been claimed that the coffin design exposes more end grain, enabling the plane to better adjust to changes in humidity. Henry Boker Maker: Heinrich "Henry" Böker of Reimschied-Solingen, Germany and his family was making tools in the 17th century. In 1829 Hermann and Robert Böker added sabres to the company's offerings, in 1837 they emigrated to New York City and established a firm to import German cutlery. H. Boker sabres would be eventually supplied to some American soldiers during the Civil War. Heinrich Boker in 1869 , a relative of Hermann and Robert, established a cutlery firm in Solingen, a centre of industry and cutting tool manufacturing in Germany. The company became a leader in the manufacture of razors, scissors and eating utensils. As early as 1900 the majority of tools produced by Boker were distributed in the U.S. market by the New York branch of the family, and pocket knives became the company's most important product line. During WWII the Solingen factory was destroyed and all the equipment and inventory was lost. After the war the factory was rebuilt and the company resumed operations, but in the early '60s the company was sold to the scissors manufacturer Wiss & Sons, and in the early 70s Wiss sold out to Cooper Industries. At some point Heinrich Boker adopted the Americanised version of his name, Henry Boker and was used as a brand name for the company's products. A vintage smoothing plane of the Bismark pattern made by Henry Boker the this plane is now regarded as a collectors item and is an example of vintage woodworking tools used in the manufacture of wooden products.Smoothing Plane Bismark design. Blade marked Henry Bokerflagstaff hill, warrnambool, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, smoothing plane, heinrich boker, carpenters tool, cabinet makers tool

The Ballarat School of Mines had a Cyanide Plant on site. Handwritten letter asking for employment at the Ballarat School of Mines Cyanide PlantHandwrittem "46 Sebastopol St Ballarat 16th Mch 88 Dear Sir I beg to ask if you have an opening for a steady man in connection with the Cyanide Plant as I am desirous of obtaining employment. I have had to give up the waggon as there was nothing in it to keep a house running. If you can assist me at the present time by giving me work you will greatly oblige. I remian Yours [Gosphy?] Wm Baker To F.J. Martell esq School of Mines Ballarat" Written and circled in red ink "160".ballarat school of mines, mining laboratory, laboratory, cyanide, cyanide plant, william baker, fred martell, martell, f.j. martell

Black and white postcard photograph of a view of Rutherglen with paddocks in the foreground.Card addressed to "Mr J Ryan, The Hospital, Wangaratta" Message: "Dear Jim, Just a few lines to let you know I am sending some oysters by first train tomorrow so you can send to the Stn. for them. I hope you will like them and trust you are getting better, you must look after yourself, and not get bad again, you owe me a letter, do you get the papers. Best love to you from all, Marie" Postmarked February 24, 1908.lake king, rutherglen, jim ryan

WARM was a community textile art project that saw over 250 knitters come together to create a beautiful collage tapestry. Made entirely from wool, the artwork contains more than 1000 individual hand knitted sections. The project takes aim at global warming, it highlights both the causes and solutions for us to create a sustainable and safe climate for future generations. Lisa Kendal, the co-creator of the project, said “One of the problems in the world is that we have forgotten how to warm ourselves with wool. We have become too dependent on fossil fuels (for heating)”. This is the key idea surrounding the project. WARM began as two large scale images created by Lars Stenberg. The first image is a landscape scarred by coal mining. The second image is the same landscape only many decades later. Regeneration and regrowth have taken over the landscape and hidden the past coal mine completely. In its place is a beautiful landscape including trees, native flowers, a lake, lots of greenery and wind turbines. From March to the end of August in 2016, knitters worked hard to create the over one thousand pieces that came together to form the final tapestry. The pieces were all designed by Fibre Artist Georgie Nicolson of Tikki Knitting Designs, who converted the second image of the healed landscape into patterns for the 250 plus knitters to follow. These patterns included unusual designs such as gum leaves, trees, native flowers and even the wind turbines. During several days of installation, the knitted pieces were stitched together by Lars Stenberg over a picture of the first image of the operational coal mine. They worked to create the second image of the renewed landscape; like an enormous collage. The WARM project was donated to the National Wool Museum in 2021. It was a much-loved hanging within the Ballarat Hospital for many years before coming to the museum. More information about the project can be found on the following website. http://www.seam.org.au/warm The tapestry is made from 1000+ hand knitted sections stitched together to make an image. In the foreground of this image is a large gum tree that stretches from the bottom left to the top right corner. The trunk of this tree follows the left edge of the tapestry, with foliage from the gum tree spanning its top border. The bottom third of the tapestry is predominantly green grass with yellow, pink and red flowers providing sporadic colour. The middle third encompasses a lake, with orange colours surrounding the banks of the water as opposed to the green grasses of the bottom third. To the right of the lake are wind turbines. The top third of the tapestry is blue sky with white clouds. It also contains the previously described gum tree leaves. Each piece of the tapestry is 100% wool and was hand knitted and stitched together. The Tapestry is accompanied by an oil painting on canvas. It is a painting that matches the tapestry and served as a template for the final tapestry. Finally, the tapestry is accompanied by another pointing on wood board. This final panting is of a coal mine. This is the setting before regeneration and regrowth have reclaimed this site, which is the theme captured in the final tapestry. In the foreground of the coal mine painting is the same gum tree described in the tapestry; however, it is grey and sickle with only 4 leaves visible at the top border, compared to the numerous leaves in the tapestry. Also in the foreground is a broken barb wire fence adding to the unwelcoming nature of the site. The colour scheme of this image is of dark greys and browns. A coal fired power plant can be seen in the final third of the image with four chimneys emitting plumes of smoke into the sky. In front of this power plant is the spiral shape of a coal mine, burrowing deep into the earth’s crust. Inside of the coal mine 3 yellow trucks are seen mining and transporting coal to the top of the mine.warm, community textile tapestry, knitting, community artwork, global warming

A granular metamorphic rock, marble is derived from limestone or dolomite and composed of calcite or dolomite interlocking grains. Heat and pressure from overlying sediments form it from limestone buried deep in Earth's crust. Graphite, pyrite, quartz, mica, and iron oxides can affect rock texture and colour. This specimen was found in Carrara, Italy. Carrara marble is the most common marble found in Italy, and it gets its name from the region where it is located. The marble was also called Luna marble and was used as a decorative element in buildings and sculptures. It has been quarried since Roman times in the Lunigiana, the northernmost tip of Tuscany, just outside the city of Carrara in the province of Massa and Carrara.Marble is one of the most popular and expensive rocks used in sculpture, architecture, interior decorations, statues, table tops, and novelties. It is available in various colors and textures depending on the chemical composition. The strength of the rock and its ability to hold finer details have made it a favorite among designers. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid hand sized Marble (metamorphic rock) predominantly white with specks light grey and ochre geological specimen, geology, geology collection, burke museum, beechworth, marble, carrara marble, italian marble, marble specimen, tuscany

Taken some time between 1914-18 in France, the photograph depicts extensive wreckage of a railway train. There are collapsed buildings, debris, and helmets scattered all across the landscape. There is one unidentified soldier standing in the middle of the photograph. With research that is currently available, it can be inferred that the wreckage depicted in this photograph is from the tragic Saint-Michel-de-Maurienne derailment which occurred on December 12, 1917. The railway accident involved a troop train carrying almost 1,000 French soldiers on their way home for leave from the Italian Front in World War I. As the train descended into the Maurienne Valley, a sudden, uncontrollable acceleration caused a catastrophic crash and subsequent fire. 675 people died in the accident.The record is historically significant due to its connection to World War I. This conflict is integral to Australian culture as it was the single greatest loss of life and the greatest repatriation of casualties in the country's history. Australia’s involvement in the First World War began when the Australian government established the Australian Imperial Force (AIF) in August 1914. Immediately, men were recruited to serve the British Empire in the Middle East and on the Western Front. The record has strong research potential. This is due to the ongoing public and scholarly interest in war, history, and especially the ANZAC legend, which is commemorated annually on 25 April, known as ANZAC Day. Additionally, there is only limited information available about the Sant-Michel-de-Maurienne derailment. The record may be a useful springboard for further investigation into this accident and its history.Black and white rectangular photograph printed on matte photographic paper.Reverse: 6530 / Destruction of train carrying / German helmets (?) to (?) prior to / his retreat at Charleroi /military album, army, war, wwi, world war i, france, charleroi, train, military, wreckage, europe, belgium, saint-michel-de-maurienne, maurienne valley

A Mason jar is a moulded glass jar used in canning to preserve food. The mouth of the jar has screw threads on its outer perimeter to accept a metal ring (or "band"). The band, when screwed down, presses a separate stamped steel disc-shaped lid against the rim of the jar. An integral rubber ring on the underside of the lid creates a hermetic seal to the jar. The bands and lids usually come with new jars, and bands and lids are also sold separately; while the bands are reusable, the lids are intended for single use when canning.The Mason jar was invented and patented in November1858 by Philadelphia tinsmith John Landis Mason. The same design was used on the jars well into the 1900'sThe early settlers of Moorabbin Shire had to be self sufficient and grew their own fruit and vegetables even if not market gardeners They preserved their produce for use all year. A clear, glass jar with a metal screw top lid used for preserving food c1900. This jar has a 'keystone' symbol. 'keystone' symbol / MASON'S / PATENT / NOV 30TH / 1858 base 67. PAT NOV 96early settlers, market gardeners, mason's jar, mason john landis, food preservation, moorabbin, bentleigh, cheltenham

The Lyon Bros Eltham Motor Garage opened in 1923 at 283-287 Main Road Eltham, opposite Arthur Street. Messrs Lyon Bros., Eltham, advertise that they have opened a motor garage near the post office, where a car or petrol may be procured day or night, and repairs effected. (The Advertiser, 2 March 1923) The garage was an official RACV Road Service Station and offered vehicles for hire in addition to conducting repairs. Community memories after posting this photo on Facebook include: "I can remember my dad putting 2 shilling pieces into a bowser to get petrol after hours." Lyon later built new premises which were subsequently demolished.This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book, "Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital image 4 x 5 inch B&W Negsepp, shire of eltham pioneers photograph collection, eltham, automobiles, businesses, george w. bell collection, lyon, lyon bros garage, main road, motor garage, motor vehicles, petrol bowser

This is the Grass is Alan Marshall's sequel to his auto biography I Can Jump Puddles. First published in 1962, it tells the story of Marshall's adolescence, as he searches for work amid the rough and tumble of 1920s Melbourne. From Wallaby Creek in Donvale Shire where he boards with hard-drinking bushmen, to the slums of East Melbourne, his recollections bring to life a cast of colourful characters, each with his private tragedy. His narrative, encompassing the lived experience of ordinary men and women, is infused with Marshall's deep sense of humanity. Like its famous prequel, This is the Grass is a novel of immense courage, conveying rich insights into little-known aspects of Australia's past.Burgundy hardbackPencil: 1st Edition alan marshall

The Poultry Cross is a market cross in Salisbury, Wiltshire, marking the site of former markets. It was built in the 14th century and modified in the 18th century. It stands at the junction of Silver Street and Minster Street. The Poultry Cross is the only one remaining of four market crosses that once existed in Salisbury. The presence of a market cross on the Poultry Cross site dates to 1307 and the name to about a century later. The present stone structure was built in the late 15th century. The original flying buttresses were removed in 1711, as can be seen in the painting of 1800 by JMW Turner; the present buttresses date from 1852–4, when the upper parts of the cross were rebuilt to the designs of the architect Owen Browne Carter.Black and white postcard of the architectural feature known Poultry Cross Salisbury, and the street around it. chatham-holmes family collection, poutry cross, salisbury, henry smerdon holmes

A mandrel (/ˈmændrɪl/; also mandril or arbor) is one of the following: * a round object against which material can be forged or shaped; or * a flanged or tapered or threaded bar that grips a workpiece to be machined in a lathe. A flanged mandrel is a parallel bar of a specific diameter with an integral flange towards one end, and threaded at the opposite end. Work is gripped between the flange and a nut on the thread. A tapered mandrel (often called a plain mandrel) has a taper of approximately 0.005 inches per foot and is designed to hold work by being driven into an accurate hole on the work, gripping the work by friction. A threaded mandrel may have a male or female thread, and work which has an identical thread is screwed onto the mandrel.Iron frame with handle. Vice section for attaching to bench. Mandrel for shapingmachine wheel, mandrel, forged, shaped, holds workpiece

The Royal Irish Rifles was a British Army Infantry Regiment. It dates back to the reign of King George 111. In 1793 the British Army raised 2 new Regiments to meet the commitmentd of the war with the French First Republic. In 1881 under the Childers Reforms these 2 regiments were amalgamated to form the Royal Irish Rifles,it saw service in the Second Boer War, Great War. In 1921 it was renamed the Royal Ulster Rifles. Quis Separabit = "Who shall seperate us" (Latin) In 1968 under reforms of the army, was amalgamated with The Royal Inniskilling Fusiliers and the Royal Irish Fusiliers to form the Royal Irish Rangers. More information on this Regiment can be found on Wikipedia under Royal Ulster RiflesThis Royal Irish Rifles Hat badge appears to be a Pewter type alloy with brass clip. At top a Crown. Centre is harp shaped. Left side of harp has the figure of a siren her wings join to the right side of the harp which is a bar? adorned with raised decor. Bottom is a scroll with the lettering- Qius Separabit.Royal Crown Harp -Siren on left, wings joining to the right side with raised decor Scroll has - Quis Serarabithat, ww1, collection, royal, badge, a j, roddy, irish, rifles, pte2, james, ulster

This 11 inch (28) Railway Gun was captured by the AIF in front of Harbonnieres near Villers Bretonneaux on the 8th of August 1918. It was one of the Guns used by the Germans to shell Amiens from a distance of 15 miles (24km) in an endeavor to destroy the railway centre in the city. However the destruction of the city was prevented by the advance of Allied Troops on the morning of 8th August when 5 Australian, 4 Canadian, 4 British and 9 French Divisions broke the German Front before Amiens./ The Barrel of the Great Gun, 41 feet (12,5m) long and weighing more than 45tons (45-80 tonnes), is exhibited at the Australian War Memorial in Canberra. More information can be found at www.Wikipedia/The Amiens Gun Two copied photos of the Amiens Gun (seperate Frames) and a history of the Amiens Gun in seperate frame.None on Photos, the history frame has a short history and "Presented by the Canberra Services Club 2003"ww1, gun, the, railway, amiens, harbonnieres, villers, bretonneaux

Topic ; Funeral of Mr E.J. Trait, Tommy Bent , Evan Griffiths, The Aims of the CMHS are ‘to record the history of the City, and register something of the Australian Atmosphere, which the necessary speed-up in post-world-war two (WW11) immigration has caused to be lost; to produce a magazine at regular intervals, featuring the work of pioneers and the changing Australian scene; to work constantly with a long range view towards building a hall where records and exhibits can be housed’ (1961) The Original Newsletters reflect the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash. This is Newsletter No. 5 Vol. 3 of the CMHS June 1963 CMHS obtained a Kingston City Council Community Grant 2016 for the digitization and preservation of these Original CMHS Newsletters commenced in 1961 1 x Foolscap paper printed on both sides folded for 4 pagesCITY OF MOORABBIN HISTORICAL SOCIETY / NEWSLETTER / No. 5 Vol. 3 June 1963 city of moorabbin historical society 1961, sheehy t.a., newsletters

Topics ; 2nd Birthday CMHS; Arts and Crafts Cheltenham; early 20thC Moorabbin The Aims of the CMHS are ‘to record the history of the City, and register something of the Australian Atmosphere, which the necessary speed-up in post-world-war two (WW11) immigration has caused to be lost; to produce a magazine at regular intervals, featuring the work of pioneers and the changing Australian scene; to work constantly with a long range view towards building a hall where records and exhibits can be housed’ (1961) The Original Newsletters reflect the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash. This is Newsletter No. 7 Vol. 3 of the CMHS August 1963 CMHS obtained a Kingston City Council Community Grant 2016 for the digitization and preservation of these Original CMHS Newsletters commenced in 1961 1 x Foolscap paper printed on 2 sides folded for 4 pages NEWSLETTER / Vol. 3 No 7 AUGUST 1963 / HISTORY / CAMERA / FILMS / LIGHT / OPERA / ART / FLORAL / ART / CULTURAL / ACTIVITIES.city of moorabbin historical society 1961, sheehy t.a., newsletters,

Topic; Lucas Electrical, Moorabbin Roads Board, Moorabbin News The Aims of the CMHS are ‘to record the history of the City, and register something of the Australian Atmosphere, which the necessary speed-up in post-world-war two (WW11) immigration has caused to be lost; to produce a magazine at regular intervals, featuring the work of pioneers and the changing Australian scene; to work constantly with a long range view towards building a hall where records and exhibits can be housed’ (1961) The Original Newsletters reflect the history and heritage of the former City of Moorabbin — derived from Mooroobin, ‘a resting place’ in the Bunurrung spoken language. In 1994, the City of Moorabbin was integrated into the Cities of Bayside, Glen Eira, Kingston and Monash. This is Newsletter No.9 Vol. 4 of the CMHS September 1964 CMHS obtained a Kingston City Council Community Grant 2016 for the digitization and preservation of these Original CMHS Newsletters commenced in 1961 1 x Foolscap paper printed on 2 sides folded for 4 pages CITY OF MOORABBIN HISTORICAL SOCIETY NEWSLETTER / (Affiliated with the Royal Historical Society of Victoria ) / President ; R Ashley ...... / Secretary; Mrs R. Neville ……./ : Historian : T.A.Sheehy / Volume 4 No.9 September 1964 city of moorabbin historical society 1961, sheehy t.a., newsletters, lucas electrical ltd; moorabbin roads board;