The celebrated EMU CREEK BUSH BAND is a social group, which fosters junior members, has the promotion of authentic Australian Traditional Music as its aim. This is played on acoustic instruments featuring the 'squeezeboxes' i.e. the German system concertinas and button accordions along with fiddle, mandolin or banjo mandolin and whistles. Piano, banjos, guitars, double bass, washboard or lagerphone and drums play rhythm. Based in Central Vitoria. https://www.bendigobushdance.org.au/layout.php?p=1Sky blue windcheater with the logo "The Celebrated Emu Creek Bush Band" printed centre front. The Band's symbol of the head of an emu is in a circle enclosed by the Band's name in blue and yellow lettering. Clothing label identifies the manufacturer - "L. Baker,". Includes Phone number. Reverse of label gives care instructions and "Made in Australia".colonial dance, bush dance, old time dance, emu creek bush band, peter ellis collection.

Government steamer serving lighthouses along the coast and in Bass Straight Steamer, 146 nhp. Built 1886. Built In Melbourne. Tonnage 487g 337n. Built By Campbell, Sloss & M'Cnn Dimensions182.7 x 24.6 x 14.4 Demise Campbell, Sloss & McCann, Sth Melbourne. Lighthouse tender. Later: Victorian Government (Department of Public Works), reg. Melbourne. Later Moreton Tug & Lighter Co. 1962: Scuttled at Dunwich, Moreton Bay, Qld.Black and white photographship, boat, river, sea

Four photographs donated by Jim Osterlund221-01 Photograph of Suspension Bridge taken from Quarry area with Bass Hills in the background. 221-02 Copy of a Postcard of the Phillip Island Granite Quarry at Cape Woolamai. Rocks in the foreground and jetty with crane on the right. An F & J Postcard. 221-03 Photograph of W Kennon's Jetty at Cape Woolamai with large rocks on the beach in the foreground. 221-04 Photograph of Mr C Richardson standing in front of a beacon at Cape Woolamai.granite quarry cape woolamai, phillip island suspension bridge, w kennon jetty cape woolamai, c richardson, cape woolamai beacon, jim osterlund

Kalbe’s Imperial Accordion Made in Germany. Ten metal keys on right hand side; on left hand side two metal keys for bass chords and one key for the bellows. Case of black polished wood, bellows has nine folds. Nickel plated markings on corners of bellows read "Imperial Accordion, made in Germany, trade mark" with images of two fouled anchors. The accordion is in working condition. A cleaning brush is included.musical instruments, keyboard, button accordion

One of a collection of over 400 photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandClose up photograph of the Woolamai Granite Tablet on the Cairn at Rhyll.To Commemorate the discovery of this port by Surgeon George Bass, 4 Jan 1798 and the visits paid by Lieut. James Grant, March 1801. Lieut. John Murray, Dec 1801. The French under Capt. Baudin, April 1802 and Capt. D'Urville, Nov. 1826. Also the establishment of a temporary British settlement (Fort Dumaresq) Dec. 1826 local history, photography, tablet on the rhyll cairn, black & white photograph, rhyll cairn, george bass, exploration, john jenner, bryant west

One of 23 photographs from the Jessie Smith Collection. Donated by Stan McFee.Black & White photograph of Stone Memorial Cairn with history of the first explorers who landed at Rhyll. Inscription on Cairn reads: To commemorate the discovery of this Port by Surgeon George Bass 4 Jan 1798 and the visits paid by Lieut.James Grant March 1801 Lieut John Murray Dec 1801 The French under Capt. Baudin April 1802 and Capt. D'Urville Nov 1826 also the establishment of a temporary British Settlement (Fort Domanesq) Dec 1826On Back: "Rhyll P.Is"memorial cairn rhyll, explorers phillip island, jessie smith collection, stan mcfee

This photograph was taken near the Snowy River Bridge on the the old Princes Highway in Orbost, near the caravan park. The 1971 flood was the the worst flood on record. At Jarrahmond it was at least 11 metres and up to one and a half kilometres wide on the flats causing enormous damage to the flood plain. Records say that "The brown floodwater stain in Bass Strait could be seen from passing airliners." Considerable damage was done to railway infrastructure, roads and farms. More information from the APRIL, 2008 newsletter by John Phillips. (see orbosthistory.com.au)This is pictorial evidence of a significant local event. Floods have been an integral part of Orbost's history for hundreds of years.A black / white photograph of debris, fallen power lines, a tree across the highway and floodwaters across the road.on front at bottom - handwritten in upper case print - " 1971 FLOOD PRINCES HIGHWAY NEAR SNOWY BRIDGE"floods-orbost-1971

This photograph is an aerial view of the township of Orbost taken by the Bairnsdale Advertiser newspaper. It was taken from the northern end of the town. The 1971 flood was the the worst flood on record. At Jarrahmond it was at least 11 metres and up to one and a half kilometres wide on the flats causing enormous damage to the flood plain. Records say that "The brown floodwater stain in Bass Strait could be seen from passing airliners." Considerable damage was done to railway infrastructure, roads and farms. More information from the APRIL, 2008 newsletter by John Phillips. (see orbosthistory.com.au)This is a pictorial record of a significant event in the history of Orbost,A black / white aerial photograph of a township with floodwaters in the background.on back - "Note main current through the lagoon 1971."orbost-floods-1971 bairnsdale-advertiser orbost-township

On the evening of February 17, 1960, 74 peacetime commandos in army boats set off on a training exercise from Point Lonsdale to Point Nepean, simulating a raid. The weather was calm at Point Lonsdale on a midweek evening 50 years ago, but 50 years ago weather forecasts were not yet reliable. By nightfall a massive storm came through and all hell broke loose. Soon, three young Victorians were dead and more than 70 others were rescued from huge seas in Bass Strait.Green commando beret similar to ones worn by commandos involved in Rip Disaster of 1960Commando beret (green) with unit insigniaUnit insignia: "Strike Swiftly"commandos, beret

This low-lying northern-most tip of Queenscliff saw its physical origins in 1863 with allotments let to a burgeoning fishing community previously accommodated on the site of the current railway station and whose construction in 1879 necessitated eviction. Among this community, Chinese fishermen are thought to be of the first international settlers. The success of the fishermen’s settlement was due in part to commercial trading prospects the railway afforded and the size of catch available to those fishing in Bass Strait. Salmon, snapper and particularly barracouta led to the success of the local industry.Original Fishermans Cottage previously located at Swan Bay end of Bridge Street Queenscliff. Timber - Weatherboardfishermen's cottage, fishermen's flat, queenscliff

Photograph; black and White group photograph of the Volunteer Corps and Band in dress uniform with white pith helmets, the the band members wearing caps. Band instruments are in the foreground on the ground. There is a hut on the right with the word GENERAL painted on the door. There is a road and some buildings on the left, another road on the right with tall posts, and hills in the background. One of the instruments is a Rope Tensioned Bass Drum. 3488.1 is unmounted, and has two stamps on the back 3488.2 is a copy of a mounted photograph, with impressed inscriptions below Painted on the building "GENERAL" (3488.1) Stamp, purple ink; "Flagstaff Hill Maritime Village" (3488.2) Impressed below the copy and photographed with the copy: Coat of Arms in centre [Lion and Unicorn], pulse impressed script on the left and impressed text on the right.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, photograph, volunteer corps band

Copied from copy in J Whadcoat collectionBlack and white photograph showing P W D cottage on left and other Works buildings on dune at the entrance to Gippsland Lakes from the ocean - Bass Strait. View shows flagstaff on top of dune and flagstaff jetty in lake - Cunninghame Arm. Small sailing boat on left and other small craft on shoreline. Section of Bullock Island with vegetation, one telegraph pole and one dead tree on island. Shoreline of North arm in foreground. Lakes Entrance Victoriajetties, township, waterfront, accommodation, waterways, ships and shipping

Three copies -Sepia photograph showing dunes, houses and Works buildings and boats at the entrance to Gippsland Lakes from ocean - Bass Strait. Photo shows two PWD houses on left and small school building, plus other Works buildings. Flagstaff on dune above houses. Large barge on left in front of houses. Large passenger steamer at New Works wharf with people waiting, has flags and bunting, two masted ketch on right of rock groynes. Lakes Entrance Victoriajetties, township, boats and boating, topography

This photograph shows the floodwaters during the 1971 flood at Orbost. The two mahogany trees in the photograph stopped the Snowy River from changing its course. The 1971 flood was the the worst flood on record. At Jarrahmond it was at least 11 metres and up to one and a half kilometres wide on the flats causing enormous damage to the flood plain. Records say that "The brown floodwater stain in Bass Strait could be seen from passing airliners." Considerable damage was done to railway infrastructure, roads and farms. More information from the APRIL, 2008 newsletter by John Phillips. (see orbosthistory.com.au)This is a pictorial record of a significant event in the history of floods in Orbost.A black / white photograph of raging floodwaters at the bottom of the Orbost township.orbost-flood-1971

The 1971 flood was the the worst flood on record. At Jarrahmond it was at least 11 metres and up to one and a half kilometres wide on the flats causing enormous damage to the flood plain. Records say that "The brown floodwater stain in Bass Strait could be seen from passing airliners." Considerable damage was done to railway infrastructure, roads and farms. More information from the APRIL, 2008 newsletter by John Phillips. (see orbosthistory.com.au) The railway line was destroyed and was not expected to be opened for a fortnight. Orbost was cut off by 50 square miles of Snowy River floodwater. These photographs are pictorial records of the 1971 floods which was a significant event in the history of Orbost. They are also associated with the East Gippsland Railway.Three black / white photographs of flood debris and flood waters near a railway line. 3102.l has a pile driver 3102.2 shows a gap in the viaduct and 3102.3 shows men with a tractor cleaning up the debris,3102.1 - on back - "1971 FLOOD REPAIRS TO ORBOST RAILWAY VIADUCT - 15th February 1971. Donated by Audrey Van Den Berg VRH 3693" 3102.2 - on back - " DAMAGE TO RAILWAY VIADUCT ACCUMULATED DEBRIS" 3102.3 - on back - "DAMAGE TO RAILWAY VIADUCT AT ORBOST. CLEAN UP BEGINS"orbost-flood-1971 orbost-viaduct-flood-damage orbost-railway

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket. Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized cream blanket with watermelon and mint stripesNo inscriptionwool, blanket, blanket fever, no label

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket.Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized, checked blanket, brown, blue and creamNo inscriptionwool, blanket, blanket fever, no label

Collector says: As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket."Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized multicolour checked blanketNo inscriptionwool, blanket, blanket fever, no label

This specimen was found in Cape Patterson, Vic. Cape Paterson is a cape and seaside village located near the town of Wonthaggi, 132 kilometres southeast of Melbourne, in the Bass Coast Shire of Gippsland, Victoria, Australia. These dark, fossiliferous Mudstones were deposited in slow-moving water associated with sedimentary basins & continental shelves. They are rich in carbon which makes them almost black. This is typical of an anoxic, reducing environment such as deep water or stagnant conditions where carbon-rich material would remain unoxidised during subsequent deposition & diagenesis. it has an imprint of a leaf in the rock itself, displaying the fossil of the plant. This specimen is unique due to the leaf impression within the stone itself. Imprint fossils are formed from an organism moving in some way, leaving behind a trace or track. These tracks are preserved when the clay/silt dries slowly and is covered by other sediment. Plants can also leave imprint fossils when they are covered by sediment. The leaf tissue degrades, leaving an imprint of where the leaf once was. 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.These dark, fossiliferous Mudstones were deposited in slow moving water associated with sedimentary basins & continental shelves. They are rich in carbon which makes them almost black. This is typical of an anoxic, reducing environment such as deep water or stagnant conditions where carbon rich material would remain unoxidised during subsequent deposition & diagenesis. FOSSILIFEROUS MUDSTONE / Locality: Cape Patterson, Victoria | Descriptive catalogue / Pg 27 No 95 / "Grey Clay, / Cape Paterson with leaf impressions' / 15/4/21 C. William /mudstone, cape patterson, leaf imprint, fossilised leaf, fossiliferous mudstone

This wooden ship's wheel originally had eight spokes but four are no longer in their sockets. One of the spokes has been shaped. Both sides of the wheel have a brass cap over the centre of the hub, covering the wooden hub. The wood is split and cracked, and parts of it have small holes, a sign of being affected by the sea worm. Thick encrustations are on parts of the wheel, showing that it has been on the sea bed for quite some time. The donor is a Warrnambool resident. Years ago he was cray fishing at King Island, which is in Bass Strait, northwest of Tasmania. His craypot got stuck in a reef so a diver helped him by retrieving the craypot for him. While the diver was underwater he also stumbled across the ship's wheel, which he gave to the donor. The Bass Strait is a very narrow route that was difficult and dangerous to navigate in the early 19th century, before good maps, communications and lighthouses were installed. The area, including King Island, is the graveyard of many ships that almost made it to their destination of Melbourne along Australia's treacherous coastline. Around King Island alone, many ships and lives were lost. There is no information about the history of this ship's wheel. Its condition shows that the item has been under the water for a long time. However, there is no evidence that it came from a shipwreck. It could even have been an old ship that could have been scuttled or destroyed as it was no longer useful. The wheel is significant as a sign of shipping around King Island. It is part of the island's history, and of maritime history. It is an example of an item manufactured by hand.Ship's wheel; segment of a wooden ship's wheel. It once had eight spokes but only portions of four spokes remain. The outer centres of the hub and the reinforcing bands around the hub are brass. The wheel is heavily encrusted in parts. It was recovered from an unknown shipwreck in the waters of King Island.great ocean road, warrnambool, shipwreck artefact, artefact, ship's wheel, ship's wheel segment, portion of a ship's wheel, flagstaff hill, maritime museum, maritime village, flagstaff hill divers, marine technology, navigation, steering wheel, eight spoke wheel, king island, craypot, diver

Black and white photograph of large group outside. In background are dense foliage and statue (Queen Victoria?). At front of statue, approximately thirty men, mainly bare-headed, mainly wearing three piece suits. At front, sixty five men, mainly wearing sailor's uniforms. Bass drum at centre front. Other band instruments visible. Small child bottom left corner with adult head visible. Mounted on grey board. History: Helen Mainka 06.11.2000 'is this the Queen Victoria statue in Bendigo?.person, group

Small booklet: Sixteen Explorers of Australia. A portrait of Captain Cook on the front page. It was published in March 1965 by the Bank of New South Wales. The booklet has 17 pages. Contents: Preface - Abel Tasman - James Cook - George Bass - Matthew Flinders - Gregory Blaxland - John Oxley - Phillip Parker King - Charles Sturt - Thomas Livingstone Mitchell - Edward John Eyre - Ludwig Leichardt - Augustus Charles Gregory - Edmund Kennedy - Robert O'Hara Burke - John McDouall Stuart - John Forrest.books, biography, explorers of australia