The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.Rigging on the Cutty Sark.cutty sark, exhibition, wool, australia, china,, sailing,, woodget,, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration,, trade, rigging

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

The Cutty Sark was launched on 22 November 1869. She was named by the wife of George Moodie, the ship's first master who had also supervised her construction. Cutty Sark left the Clyde on 13 January 1870. A month and two days later, she set sail from London for China. Cutty sark was designed and built by Scott & Linton of Dumbarton for 16,150 pounds. But much of the money was to be paid by Willis when the ship was launched. Just before they finished her, Scott & Linton ran out of money and went bankrupt. She was completed by William Denny & Brothers. The Cutty Sark was the first ship to reach London with a tea cargo in 1877. But she was one of only nine sailing ships that returned that year - in 1870 there had been 59. Steamships were now dominating the tea trade. In 1883 the Cutty Sark joined the booming trade in transporting Australian wool. Every year until 1895 she set out in the summer for Australia, to load a cargo of wool bales and return to England in time for the wool sales ini the first three months of the new year. Cutty Sark soon established herself as the fastest of the wool clippers. Under her last master, Richard Woodget she set record times of 70 days or less for the voyage which no other sailing ships could match.cutty sark, exhibition, wool, australia, china, sailing, woodget, moodie, london, willis, dumbarton, scott & linton, william denny, tea, cargo, immigration, trade

Louis Kahan (1905-2002) is best known in Australia for his skill as an artist. As Independent Fashion Curator, Laura Jocic has observed, ‘It is less known though that Kahan had a career in theatre and fashion in Vienna and Paris during the 1920s and 1930s that continued when he came to Australia in 1947. He signed his fashion illustration with the initials 'nac', a phonetic interpretation of his surname spelled backwards. In this illustration on newspaper we can see Kahan playing with the graphic effects of line and text, while communicating the cut and drape of late-1950s fashions.’ Kahn was born in Vienna in 1905 and first travelled to Australia in 1947. He moved to Melbourne in 1950 where he became friends with artist George Bell, writer Alan McCulloch who introduced him to Clem Christensen, editor of the literary journal Meanjin, where many of his portraits of Australian writers were published. His 1962 portrait of the author Patrick White won the Archibald Prize, bringing him national recognition. He also designed sets and costumes for the Elizabeth Theatre Trust (Opera Australia) and the Melbourne Theatre Company. In 1993 his contribution to Australian cultural life was recognised when he was made an Officer in the Order of Australia (AO). He died in Melbourne, at the age of 97 in 2002. Ann Carew 2018Fashion illustration on newsprint. Drawing depicts two women. Women in foreground is wearing a long green coat and hat.Woman at rear is wearing a green and white evening dress with white gloves.Signed lower right in ink, 'nac 1958'.fashion illustration, fashion design

General Motors Holden imported this vehicle into Australia from Canada in approximately 1941 or 1942 as 4 door sedan. The Oldsmobile company believed that at the end of WW2 there would be a need for coupes worldwide. GMH at that time were heavily committed to he war effort and the proposal was to convert this vehicle into a coupe in line for Coup with the Oldsmobile policy. The conversion went ahead under some secrecy as the war effort had priority. The result was by the end of war this coupe was manufactured at the GMH Fisherman's Bend plant. The car was taken to both Brisbane and Sydney motor shows and was immediately a success with GMH taking orders at both shows. However when these orders were forwarded to Oldsmobile USA the response was less than favourable. Apparently Oldsmobile had been inundated with orders for Coupes in both Canada and the USA and could not fullfill any overseas orders due to lack of capacity. This vehicle under instructions from USA was to be hidden and not used for sales promotion anywhere in Australia. The exact location of this vehicle is somewhat lost between 1946 and 1990's. It was located in Kyneton in Victoria where it had been placed in the back of Kyneton GMH dealership. It was extracted by Doug___ from Warrandyte, removed from the blackberries and undergrowth and taken for restoration. Progress was slow and it was sold to the museum fully restored by Mr Rob Treen Glassy Spur Victoria. The colours both interior and exterior are the same as it came out of the GMH workshop in 1945.It is a one off vehicle and the only 2 door RHD Oldsmobile Coupe body made by Holden.1946 Black Oldsmobile 2 door automobile, 1932, car

This item is from a collection donated by descendants of John Francis Turner of Wodonga. Mr. Turner was born on 6 June 1885. He completed all of his schooling at Scotts Boarding School in Albury, New South Wales. On leaving school, he was employed at Dalgety’s, Albury as an auctioneer. In 1924 John was promoted to Manager of the Wodonga Branch of Dalgety’s. On 15/03/1900 he married Beatrice Neal (born 7/12/1887 and died 7/2/1953) from Collingwood, Victoria. They had 4 daughters – Francis (Nancy), Heather, Jessie and Mary. In 1920, the family moved From Albury to Wodonga, purchasing their family home “Locherbie” at 169 High Street, Wodonga. "Locherbie" still stands in Wodonga in 2022. The collection contains items used by the Turner family during their life in Wodonga. Celluloid dolls were very popular in the late 19th to mid 20th century. They were lighter and less fragile than porcelain dolls and were therefore more durable. Celluloid is one of the first synthetic plastics ever created. It is made from wood products that include cellulose nitrate and camphor. First created in 1863, it was a popular material to make items as diverse as jewellery and dolls from the 1870s through the 1930s. Celluloid is flammable, deteriorates easily if exposed to moisture and can be prone to cracking and yellowing.This item comes from a collection used by a prominent citizen of Wodonga. It is also representative of a domestic item common in the 1930s.2 miniature celluloid dolls dressed in hand-made clothes. Doll in blue dress also has shoes painted on the celluloid.On back of doll: RODDY MADE IN ENGLAND"vintage dolls, leisure items, miniature dolls, children's toys

Two page document recording anecdotes about Melbourne Legacy Presidents, including Bill Cremor, Syd Birrell, Ray Hall and Cyril Smith, written by Ray Hall's successor in 1935, H.G. Brain. According to his account relationships were not always smooth; not only did Hall chair a fractious Board in 1934, but in 1931 insults were hurled during a meeting (by no less than Stan Savige) which resulted in the immediate resignation of the then President Smith, later retracted. Brain himself upset Mildura Legacy when he put forward his view to the Mildura Annual Dinner that 'the returned soldier section of the population was big enough ... to carry its own welfare activities, and that it ought not to pound the general populace too hard.' He had inadvertently broadcast his ideas over the national network, thinking that the microphone was only for local hearing assistance. More amusingly Brain also tells a story about Cremor when he ran against Harold Holt for the the House of Representatives seat of Fawkner 'in 1942 (?)', and one about Birrell showing a group of the Women's Nationalist League (a conservative women's organisation established in 1904 to support the monarchy and empire) members around the Flemington Saleyards. The handwritten notation at the end references the funeral of 1949 President Syd Birrell, who died in 1966.Eyewitness account of early Melbourne Legacy presidents, which is indicative of the times and attitudes.2 typed sheets, black on white'Birrell funeral' handwritten in blue ballpoint, tick beside the final paragraph on each sheet.past presidents, history

A book about the fighting around the French village of Pozieres in 1916. Many of the early legatees fought on the Western Front and some, including founder Stan Savige, fought at Pozieres. There is a photo in the book of Brigadier-General Gellibrand and his staff, including Savige, eating breakfast in a shell hole. Back in Australia after the war Gellibrand inspired Savige to found a club like the Remembrance Club he had founded in Hobart. Thus Savige founded Legacy. Speeches by Legatees Kemsley and Armstrong in later years showed they had also fought in the Pozieres area. Some research has shown: The fighting around Pozières was part of the brave actions of the Australians during the battle of the Somme from July 1916. Between 23 July and 5 August 1916, the Australian 1st and 2nd Divisions captured Pozières village and Pozières heights, a ridge 500 metres east of the village. The 4th Division then continued the attack north along the ridge, the Australians in ten days of continuous action reached Mouquet Farm. The farm resisted capture until 26 September 1916. In less than seven weeks in the fighting at Pozières and Mouquet Farm three Australian divisions suffered 23,000 casualties. Of these, 6,800 men were killed or died of wounds. It was a loss comparable with the casualties sustained by the Australians over eight months at Gallipoli in 1915.A book about a battle that was important to the early legatees.Hardcover book x 318 pages about the Somme battles of World War One.Handwritten 'Melbourne Legacy Library WW1 in black ink on the fly leaf. Also a sticker saying property of Rob Allison on title page.somme, pozieres, battles, aif

The Great Spotted Woodpecker is found throughout Europe and Asia. They are generally solitary birds and do not migrate unless found in northern climates. They are omnivorous and can extend their tongue when feeding on insects, insect larvae, and seeds, among other things. They generally only stay with the same mating partner for one season and are extremely territorial. The Great Spotted Woodpecker generally has red eyes and a deep red lower belly. The males have a red nape, whereas the females do not. They have a white upper chest and white and black head, back, tail feathers, and wings. Juveniles are less vibrant in colour and their undertails and lower bellies are a dirty pink or brown. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Great Spotted Woodpecker specimen is a juvenile female. The undertail is a faint pink while the head and neck is black and white. The tail feathers and wings are a faded grey-brown and the underbelly is white. This specimen is standing on a wooden mount with a swing tag attached to its leg.Swing tag: 2e(?). / Great-Spotted Woodpecker / Catalogue page, 66 / Metal tag: 4304 / torn swing tag: (?)s ma(?)- / q. / Nord- Deu(?)- / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, great spotted woodpecker, woodpecker

The Olive-Backed Oriole are very common birds for northern and eastern Australia, as well as New Guinea. Similar to the Yellow Oriole, this species is more versatile yet less distinctive in colouring. The streaked underparts and red bill and eyes are easy identification features of this bird. Both sexes look very similar, with female colouring being slightly duller than males. This species frequents open forests and woodlands, and can tolerate dry climates. Most of this species breeds from September to January during the tropical wet season in northern Australia, but some are known to migrate south to breed in the summer. This species eats mainly native fruit, berries, and insects. This specimen is a good example of this species, but the colouring is very dull compared to living birds. This specimen has one red eye, which is a good example of a distinctive feature of this species. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Olive-Backed Oriole has a faint olive-green head and back, and a faint red-tinged beak. Its body is cream coloured with brown streaks. It has one red eye. This specimen appears to be immature and/or female, as it has a pale pill and a duller-olive green back, with streaks quite high up on it's chin, which is indicative of an immature female of this species. This specimen stands upon a wooden platform and has an identification tag tied around its leg.Swing-tag: 52a / Australian Oriole / See catalogue page 17. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, oriole, olive-backed oriole, yellow oriole, australian birds

Opera Glasses came into existence as a result of a long line of inventions, and further improvements upon those inventions. The process started in the year 1608 when a Dutch optician by the name of Hans Lipperhey developed the first pair of binoculars with a magnification capability of X3. Less than a year later, a well-known inventor and philosopher by the name of Galileo developed what became known as the Galilean telescope. Advertisements were first found for opera glasses and theatre binoculars in London as early as 1730 in the form of a long collapsible telescope. The "Opera Glass" as it was referred to; was often covered in enamel, gems, ivory, or other art and paintings. For almost 100 years opera glasses existed merely as telescopes. In Vienna, in 1823 the first binocular opera glasses and theatre binoculars began to appear. They were two simple Galilean telescopes with a bridge in the centre, each telescope focused independently from the other by extending or shortening the telescope until the desired focus was achieved, which was useful, yet very cumbersome. Two years later in Paris, Pierre Lemiere improved on this design and created a centre focus wheel. This allowed the focusing of both telescopes together. After this development, opera glasses and theatre binoculars grew in popularity because of the superior view they facilitated in opera and theatre houses. The beautiful design of the glasses themselves also added appeal to the opera-going crowd. By the 1850's opera glasses and theatre, glasses had become a must-have fashion accessory for all opera and theatergoers.Not very significant as not associated with a historic event or person and made during the first half of the 20th Century and many are still available and easily sourced.Vintage Pair of Opera Glasses, with cow bone barrels and eyepieces, both barrel pieces have split in them, both metal end barrels each have a minor dent, optics are pretty clear no mould although have very minor dust spots inside, they look like they were gilded at some point but most of this has rubbed off glasses have a black leather case with blue lining. No markings whatsoever anywhereflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, binoculars, opera glasses, theatre glasses, optical instrument, cow bone

Anecdotal evidence holds that most men returned from Vietnam in the dead of night, hidden from the public. In fact, large numbers actually returned on HMAS Sydney, to a welcome by dignitaries and a parade. The manner of their homecoming affected the way in which veterans recovered from the war, those who did arrive late at night to no fanfare and the seeming indifference of the military had more trouble adjusting to life at home than did those whose return was more public and who had had the benefit of a couple of weeks unwinding on board Sydney before reaching Australia. But the return home was only the beginning of a long period of readjustment. For a long time after the war large numbers of Vietnam veterans felt that many in Australia blamed them, rather than politicians, for the war and the way it had been conducted. Images of the war, many still familiar, of children burned by napalm, of the dead of My Lai, of a South Vietnamese general summarily executing a member of the Viet Cong in the streets of Saigon, had an effect on public opinion and public understanding. The fact that these images related more to the American/Vietnamese experience in Vietnam was less remarked upon. People associated the role of Australians in the war with that of the Americans in a way that failed to recognise the two countries’ different approaches to fighting in Vietnam. see https://www.google.com.au/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&ved=0CDwQtwIwAg&url=http%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DYL06ddRmiJE&ei=O9OJUYnxC5GaiQeey4HQCA&usg=AFQjCNEjq876qAoYu0WnWslDSNRUJlmuBw&bvm=bv.46226182,d.aGc Wooden Plaque 15cm x 13cmVietnam Vererans Parade Sydney 1987

Opera Glasses came into existence as a result of a long line of inventions, and further improvements upon those inventions. The process started in the year 1608 when a Dutch optician by the name of Hans Lipperhey developed the first pair of binoculars with a magnification capability of X3. Less than a year later, a well-known inventor and philosopher by the name of Galileo developed what became known as the Galilean telescope. Advertisements were first found for opera glasses and theatre binoculars in London as early as 1730 in the form of a long collapsible telescope. The "Opera Glass" as it was referred to; was often covered in enamel, gems, ivory, or other art and paintings. For almost 100 years opera glasses existed merely as telescopes. In Vienna, in 1823 the first binocular opera glasses and theatre binoculars began to appear. They were two simple Galilean telescopes with a bridge in the centre, each telescope focused independently from the other by extending or shortening the telescope until the desired focus was achieved, which was useful, yet very cumbersome. Two years later in Paris, Pierre Lemiere improved on this design and created a centre focus wheel. This allowed the focusing of both telescopes together. After this development, opera glasses and theatre binoculars grew in popularity because of the superior view they facilitated in opera and theatre houses. The beautiful design of the glasses themselves also added appeal to the opera-going crowd. By the 1850's opera glasses and theatre, glasses had become a must-have fashion accessory for all opera and theatregoers. A vintage pair of 1920s opera glasses probably made in France by an unknown maker the item is significant due to it's provenance that can be traced and it's completeness as a useful social item and fashion accessory used by theatergoers from the mid 19th century and well into the 20th century. Some people still use modern variants of theater glasses today to improve their enjoyment of the theater.Both glasses and case are covered with black and white snake skin. Case lined with purple velvet, and has brass closure clip.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, opera glasses, serpentine opera glasses, binoculars, accessories, optical instrument, scientific instrument, theater glasses, french opera glasses, hans lipperhey

Reference: American Journal of Pharmacy, volume 1, page 162. "So rapid is the progress of this change, that it is seldom we meet with the article in our shops which is not more or less injured by it. The first sign of the loss of alkali, is the efflorescence on the surface, which gradually extends till the whole crystalline mass is altered. It is from this cause that we have so much difficulty in pleasing those who are particular about the quality of their "smelling salts." A preparation, called " the Preston smelling salts," has within a few years been introduced from England, and has deservedly been much sought after. The manufacturers have wisely put it up in very wide mouthed bottles, which enable one to inhale a much larger quantity of ammonia at once, and thus increase the apparent strength of the salt. But it has other qualities to recommend it, than the manner in which it is put up for sale. It retains its odour for a longer time and wastes more slowly than the common smelling salts. It was generally believed, when the article was first brought here, that its superiority was owing to the sublimation being made at once into the bottle, so as to avoid any loss of ammonia by unnecessary exposure to the air. An examination, however, will satisfy any one that the salt is crystallized and not sublimed. The superior compactness and hardness of a crystalline over a sublimed salt, are great advantages in so volatile a substance as the carbonate of ammonia; and to this, I have no doubt the good qualities of the Preston salts are to be attributed. The salt may be crystallized with great facility in the winter season".Round squat clear glass bottle, wide neck with rough cut top, embossed text on side.'PRESTON SALTS' on side.smelling salts, preston salts

No. 127 is a 2'-gauge ex-South African Railways 'NGG16' class Beyer-Garratt locomotive. It was built by Beyer Peacock & Co of Manchester (builder's No.7428 of 1951) to their "Beyer Garratt" patented design of articulated steam locomotive. The South African Railways Class NG G16 2-6-2+2-6-2 of 1937 is a narrow gauge steam locomotive. Between 1937 and 1968, the South African Railways placed 34 Class NG G16 Garratt articulated steam locomotives with a 2-6-2+2-6-2 Double Prairie type wheel arrangement in service on the Avontuur Railway and on the Natal narrow gauge lines - The third order was for a further seven locomotives in 1951, numbered in the range from NG125 to NG131, once again from Beyer, Peacock. These and the subsequent locomotives had welded water and coal bunkers and flat-topped water tanks with rounded top side edges. The Beyer, Peacock locomotives ordered by the SAR, numbers NG109 to NG116 and NG125 to NG131, were shared more or less equally between the Natal and Avontuur lines No. 127 was purchased from the South African Railways by the Emerald Tourist Railway Board for the Puffing Billy Railway in late 2011 / early 2012, together with a container load of spare parts stripped from a derelict NGG16, and prepared for transport to Australia. The spare parts will assist in the restoration of sister NGG16 No.129 in the short term, while No.127 will provide the PBR with the option of restoring a second NGG16 at some future stage, if required. details from http://www.australiansteam.com/BP7428.htmHistoric - Overseas - South African - Narrow Gauge Railways - Steam Locomotive Garratt Steam Locomotive - 2-6-2+2-6-2 Beyer Peacock & Co NGG16 No.127 build No.7428puffing billy, ngg16, sar, beyer peacock & co garratt ngg16 no.127 build no7428, narrow gauge, steam locomotive, garratt

Steam Locomotive - 2-6-2 2-6-2 Beyer Peacock & Co Garratt NGG16 No.129 build No. 7430 Loco - Garratt NG129 Date acquired - 1996 Acquired from - South African Railways State when acquired - Work done - Currently being rebuilt to 2 ft 6 in (762 mm) gauge as a backup for G42. Expected Return to service in 2019. Restored to service - Current State - Currently being Rebuilt It was built by Beyer Peacock & Co of Manchester (builder's No.7430 of 1951) to their "Beyer Garratt" patented design of articulated steam locomotive. The South African Railways Class NG G16 2-6-2+2-6-2 of 1937 is a narrow gauge steam locomotive. Between 1937 and 1968, the South African Railways placed 34 Class NG G16 Garratt articulated steam locomotives with a 2-6-2+2-6-2 Double Prairie type wheel arrangement in service on the Avontuur Railway and on the Natal narrow gauge lines - The third order was for a further seven locomotives in 1951, numbered in the range from NG125 to NG131, once again from Beyer, Peacock. These and the subsequent locomotives had welded water and coal bunkers and flat-topped water tanks with rounded top side edges. The Beyer, Peacock locomotives ordered by the SAR, numbers NG109 to NG116 and NG125 to NG131, were shared more or less equally between the Natal and Avontuur lines Historic - Overseas - South African - Narrow Gauge Railways - Steam LocomotiveSteam Locomotive - 2-6-2+2-6-2 Beyer Peacock & Co Garratt NGG16 No.129 build No.7430 made of steel, wrought iron and ironpuffing billy, beyer peacock, beyer peacock & co garratt ngg16 no.129 build no.7430, narrow gauge, steam locomotive, garratt locomotive, garratt ng129, garratt ngg16 no.129

Foresters usually measure the diameter of trees at Breast Height – traditionally 4 foot, 6 inches – now 1.3 m – which is termed Diameter Breast Height Over Bark (DBHOB). Basal Area is the cross section of the tree trunk at breast height, and the sum for the stand or group of trees is expressed square feet per acre (after 1973 it was expressed in square metres per hectare). Lots of skinny trees, or a few fat ones, can have the same Basal Area, but when combined with the number of stems, Basal Area is a good indicator of stand density. Two common methods are used to measure of Basal Area – fixed area plots and angle count sampling. 1. Fixed area plots require setting out a small area, commonly 50 m x 20 m, and measuring all the trees at breast height, and doing some quick sums. 2. Angle count sampling involves a simple sweep of the forest from a fixed sampling point using a relascope, dendrometer sight, angle gauge, or glass wedge prism. This wooden builders ruler has been shaped at one end to create a shallow angle (usually less than 3 degrees). Standing in one spot, a sweep is made with the wedge held to the eye, and trees are counted as either “in” or “out”. The number of trees is multiplied by conversion factor of the wedge (10 in this case) to estimate basal area. It’s very quick and effective.Basal Area Angle Gauge The two ends fold up and one end (on the right) has been reduced in width to create a shallow angle for the viewer Home made by cutting down a wooden builder's ruler Many forestry students made their own Basal Area Angle Gauges and its thought this may be oneforest measurement

The vessels boiling electrical was used by soldiers of 8/13 Victorian Mounted Rifles when it was equipped with Centurion tanks 1966-71. A boiling vessel fitted to British armoured fighting vehicles that permit the crew to heat water and cook food by drawing power from the vehicle electrical supply. It is often referred to by crewmembers (not entirely in jest) as the most important piece of equipment in a British armoured vehicle. The "Vessel Boiling Electric" or "BV" was an innovation at the very end of World War II, when the Centurion tank was introduced with the device fitted inside the turret. Previously, British tank crews had disembarked when they wanted to "brew-up" (make tea), using a petrol cooker improvised from empty fuel cans[4] called a "Tommy cooker". Use of the BV enabled the crew to stay safely inside the tank and reduced the time taken for breaks. The first version, known as VBE No 1, began to be replaced in the early 1950s by the stainless steel No 2 version. A VBE No 3 had improved electrical sockets and was less prone to leakage. The principal use of the BV is to heat ration pouches or tins; the hot water is then used for making drinks or washing. The BV is cuboid and accommodates four tins; typically matching the crew numbers of an armoured fighting vehicle. Ration tins are supplied without adhesive labels so the surrounding water is not contaminated. A vehicle with a defective BV is declared unfit for purpose. It is common practice for a junior member of a vehicle crew to be unofficially appointed "BV Commander", responsible for making hot drinks for the other soldiers. Example of article which improved efficiency and well-being of tank soldiers.Cilinderical metal vessel with close fitting lid, folding handle and electrical socket on side.military, tank, centurion, meals, boiling

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico bag with yellow and blue graphic text on front.Front: COOK-WELL \ SELF- \ RAISING \ FLOUR \ PREPARED WITH \ PHOSHATE AERATOR \ HENRY BERRY & Co (A/S??Ltd) \ 568 580 COLLINS STREET \ MELBOURNE \ NET 7 LBSwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic image on front showing three bears holding porridge bowls with yellow background and red, white and black text. Back of bag shows red and white graphic image of a woman wearing a dress and heeled shoes holding a coffee cup, with red and white text.Front: THREE BEARS \ PORRIDGE \ FLAKED \ OATMEAL \ SOMEBODYS BEEN TASTIN' MY PORRIDGE \ AN' THEY'VE EATEN IT ALL UP \ Jas. F. McKenzie & Co. Pty. Ltd. \ AUSTRALIA \ 7 LBS. NET. Back: MCKENZIES \ EXCELSIOR \ COFFEE \ ESSENCEwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic image on front showing three bears holding porridge bowls with yellow background and white and black text.Front: THREE BEARS \ PORRIDGE \ ROLLED \ OATS \ SOMEBODYS BEEN TASTIN' MY PORRIDGE / AN' THEY'VE EATEN IT ALL UPwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen