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Moorabbin Air Museum
Machine - Miles Messenger 2A VH-AVQ (G-AJKG)
Historical Details: The AARG aircraft was built by Miles Aircraft (Northern Ireland) Ltd as a production Messenger 2A model in April 1947 and registered as G-AJKG in the UK where it flew with a number of private owners before being sold in May 1953 to the Right Honourable R.. Description: The Miles Messenger was built in England from 1942 on as a liaison aircraft for the Royal Air Force. At the end of the Second World War production continued for the civilian market. A number of Miles Messengers were imported into Australia, including t. Level of Importance: National -
Whittlesea Historical Society Inc.
Photograph - Original photograph, Group photograph
A group of men and women identified as G. W. Simpson, Joe Lockwood, W. Batten, A. Sims, Jim Maxwell ?, Mrs. W. Batten, Mrs. R. Wheeler, Mrs. W. Jenkins, Mrs. J. L. Coulthard ? could be Mrs. Maxwell.Black and white toned photograph of 5 men and 5 women mounted on cardboard. "Back Row L-R, G W Simpson, Joe Lockwood, W. Batten, A. Sims, Jim Maxwell ?, Front Row L-R, Mrs W Batten, Mrs R Wheeler, Mrs W Jenkins, Mrs J L Coulthard ? could be Mrs Maxwell" (handwritten on the rear of card)g w simpson, jow lockwood, w batten, a sims, mrs w batten, mrs r wheeler, mrs w jenkins, mrs j l coulthard, mrs maxwell, whittlesea -
Wangaratta RSL Sub Branch
Framed photograph and Medals, L/Cpl. Neville G Rose
Service medals issued to VX95196 - 3/400050 Private Neville George ROSE born 17/5/1926 at Coburg. He served with the 3rd Battalion RAR from 28/9/1950 to 30/10/1950 a total of 33 days when he was killed in action in Korea aged 24 years. Military service records currently closed. Timber frame with maroon felt mount containing photograph of soldier, eight medals with attached ribbons two metal badges and plaque.VX95196 - 3/400050 L/Cpl. Neville G. Rose 2/5th Battalion 2nd A.I.F 1st New Guinea Inft. BN 3rd Royal Aust. Regiment Killed in Action Korea 30/10/1950neville g rose, korea, 2/5th battalion 2nd a.i.f., 3rd rar, killed in action -
Ringwood and District Historical Society
Photograph, W. Chivers (Armstrong Road) (undated)
Written on backing sheet, "W. Chivers (Armstrong Road)" -
Bendigo Military Museum
Memorabilia - CENTENARY of EAGLEHAWK ANZACS, FRAMED, Eaglehawk Heritage Society, WILLIAM N. RUDDICK / FREDERICK W. L. KNUCKEY, c2014
CORPORAL WILLIAM NICHOLAS RUDDICK, No 2112, 22nd Infantry Battalion, died in France 5/8/1916, aged 20 years. LANCE CORPORAL FREDERICK WILLIAM LAWRNCE KNUCKEY, No 66, 38th Infantry Battalion, drowned at sea 10/10/1918.Memorabilia - Framed story of two soldiers, in colour, using memorabilia of the soldiers and their lives, Printed on Paper. Frame - black extruded plastic, glass front, cardboard backing.WILLIAM N. RUDDICK / FREDERICK W. L. KNUCKEYframed items, anzacs, eaglehawk -
University of Melbourne, Burnley Campus Archives
Photograph - Black and white print, Students Ploughing in the W. Orchard, 1917
Black and white photograph. 2 female students with horse drawn plough in the West Orchard.On reverse, "Students ploughing in W. Orchard May 1917."female student, horse drawn plough, ploughing, orchard, 1917, west orchard -
Melbourne Legacy
Article, Legatee George W Blackwood, President 1975
A cutting from from a Melbourne Legacy President's report showing a photo of Legatee George Blackwood (President of Melbourne Legacy in 1975). It was collected to be a record of a photo of past presidents. In World War 2 Legatee Blackwood served in the AIF in the Middle East, New Guinea and Borneo in the Corps of the Royal Australian Electrical and Mechanical Engineers and was awarded an OBE for services whilst commanding the 2/1 Army Field Workshop with the 9th Australian Division in the Alamein Campaign. He achieved the rank of Colonel. He joined Legacy in 1964 on the nomination of Legatees John Summerton and AN Fraser. The article was part of an album of past presidents from 1965 to 1989. The folder included biographical details and obituaries, eulogies and death notices of prominent Legatees. The items have been catalogued separately.A record of Legatee George Blackwood a past president of Legacy. The information was collected to record the lives of prominent legatees in a folder.Article with a black and white photo of Legatee George W Blackwood - President 1975past presidents, george blackwood -
Whitehorse Historical Society Inc.
Photograph - Black and white photograph, Gerald W. Brocklesby
Black and white photo of Gerald W. Brocklesby. History of his life with photobrocklesby, gerald w., ethel, linacre, ethel m, minnie, moore, m.l., wildwood, bakers road, blackburn -
Stawell Historical Society Inc
Photograph - The Crusher in Working Condition, B/W Photo of Ore Crusher
B/W Photo of two men standing on metal framework of an ore crusher -
Charlton Golden Grains Museum Inc
Photograph, B/W photograph of 1971 flood
B/W photograph of 1971 flood. Paddocks & roadside along Calder Highway -
Phillip Island and District Historical Society Inc.
Sketch
One of a collection of over 400 sketches & photographs in an album commenced in 1960 and presented to the Phillip Island & Westernport Historical Society by the Shire of Phillip IslandSketch Map of Westernport region and environs showing physiographical faults and warps. Drawn by Dr G Bakerlocal history, illustrations, pen & ink, westernport region, black & white sketch, physiography, dr g baker, e s hill d.sc, john jenner, bryant west -
Flagstaff Hill Maritime Museum and Village
Bowl, J & G Meakin
Large white ironstone china bowl. Made by J & G Meakin. Hanley England. 15' in diameter.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, china bowl, bowl -
Flagstaff Hill Maritime Museum and Village
Domestic object - Bowl, J & G Meakin, Late 19th or early 20th Century
The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/This bowl was made by renowned pottery company J & G Meakin of England. The firm was established in the mid-1800's. The bowl is an example of kitchenware used in the 19th century and still in use today.Bowl; white ceramic, round and tapering inwards towards base. Made by J and G Meakin England.On base, 'Ironstone China Reg SOL 391413' with symbolflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, mixing bowl, food preparation, j & g meakin, pottery, stoke-on-trent, kitchen equipment, ceramic -
University of Melbourne, Burnley Campus Archives
Plan, M. Drake et al, Site Location Plan of Incubator Building and Random Sample Laying Test for Burnley Gardens, 1967
Plan by Public Works Dept., Melbourne. M. Drake (draughtsman), R. G. Wilson, Chief Architect.m. drake, g.r. wilson -
Malmsbury Historical Society
Photograph (Item), B/W Photo Of St Johns Church Malmsbury C1960S, Malmsbury c1960s
People - "Munro, Donald G" Buildings - "St Johns Church, Cyclone Wire Fence" Associated with - Church Of England -
Malmsbury Historical Society
Photograph (Item), B/W Photo Of St Johns Church Malmsbury C1960S, Malmsbury c1960s
People - "Munro, Donald G" Buildings - "St Johns Church, Cyclone Wire Fence" Associated with - Church Of England -
Tatura Irrigation & Wartime Camps Museum
Photograph - original, G. Haire photographer, 1946
Original photograph of grades V1 and V11 Tatura state School No. 1441. Copy L0253Black and white photograph of Tatura State School Group No. 1441. Original photographon back: Photographers name "G. Haire" -
Stawell Historical Society Inc
Map, G C Birch Mining Surveyor, Magdala Cum Moonlight Co. Plan of Stawell Goldfield, c1900
Shows Sloanes & Scotchmans Coy AreaShowing underground drives. c1900G C Birch Mining Surveyor mining, gold, map -
Port Melbourne Historical & Preservation Society
Map, G S Williams, City Engineer, City of Port Melbourne, Dec 1963
Map of City of Port Melbourne (brick areas marked in colour), 1963.G. S. Williams (City Engineer)town planning, g s williams, troedel and cooper -
Surrey Hills Historical Society Collection
Folder of real estate advertisements, Folders of real estate advertisements (Streets beginning with G), Various
A4 folders with individual pockets for each property in streets beginning with G located in Surrey Hills and Mont Albert. Folders are ordered by street name and then chronologically by property number. Each property has its own pocket. This may include multiple real estate advertisements collected from sales over time. It may also include copies of any research undertaken by Alan Holt and / or members of the SHNCHC team. These are augmented by cards in the Alan Holt index file and by his property registers of Surrey Hills and Mont Albert.gawler court, george street, gilbert street, gladstone street, glendale street, godfrey court, goodwood street, gordon street, grace court, graham street, grange street, griffin close, grovedale road, guildford road -
Bendigo Military Museum
Book - LOG BOOK, FLYING, RAAF, Observer's, Air Gunner's and W/T Operator's Flying Log Book
Item relates to George William Alfred MARRIOTT RAAF. Refer Cat No 3117 for his service history.Royal Australian Air Force. Blue buckram hard covered book, black printing, not illustrated, approx 150 pages.Hand written on bottom centre cover: "G Marriott" Inside cover: "ACI Marriott 1750 W/T Operator Mechanic" Rear: "Units served in - No 1 FTS, Signal School Lav. No 2 Sqn, No 1 A/C Depot" Aircraft flown - "Avro Trainer, Demon, Anson, Wapiti"military history - records / air force, log book -
Federation University Historical Collection
Letter, Ballarat School of Mines Letter Concerning Horace W. Kinnersley, 19/02/1948
Typed letter from the Ballarat School of Mines concerning student Horace W. Kinnersleyhorace w. kinnersley, balalrat school of mines, results, exams -
Federation University Historical Collection
Photograph - Photograph (black & white), Richard W. Richards, c1950
This photograph was taken at the presentation of a bust of Dick Richards to the Ballarat School of Mines. Dick Richards joined the Ballarat School of Mines (SMB) in 1914, and soon afterwards was granted leave to join an expedition to Antarctica. In 1915 he sailed from Australia with the Antartic Exploration Expedition, led by Sir Ernest Shackleton. Dick Richards was the physicist and sled manager for Shackleton's Ross Sea Party - with the task to meet Shackleton on the other side of the continent. When Shackleton planned his transcontinental crossing he decided to use supply depots as loads of supplies were too heavy to pull. The depots would enable Shackleton's party to carry just enough to reach the Pole, relying on the depots which were to be left by the Aurora's crew every 60 miles, stowed in 2 sledge journeys in 1915 and 1916. Dick Richards spent 3 freezing years in Antarctica between 1914 and 1917. Travelling south with Sir Ernest Shackleton Richards' worst experience was when his ship Aurora, tethered offshore, was blown away in a gale leaving Richards marooned for two years with nine other men on the ice floe. The Ross Sea Party arrived in McMurdo Sound aboard the Aurora in January 1915. The going was tough on the sledging trips as the sledges were overloaded. Temperatures were as low as minus 68F. In June 1916 the party crossed on foot to Cape Evans, occupied Scott's Hut (from his Terra Nova Expedition, erected in January 1911) in May 1915, for two months. On 10 January 1917 Richards was hunting for seals when he saw a ship on the horizon. It was 'The Aurora'. Picking up the relieved survivors 'The Aurora' arrived in New Zealand on 9 February 1917 to a hero's welcome. Joyce, Wild, Hayward and Richards later won the Albert Medal for their heroic devotion to duty. Later an inlet on the Antartic continent was named after Richards. Dick Richards wrote the following years after the ordeal "To me no undertaking carried through to conclusion is for nothing. And so I don't think of our struggle as futile. It was something the human spirit accomplished." After returning to Australia Dick Richards resumed his work at SMB as Lecturer in Physics and Mathematics, and developed many pieces of experimental equipment. During World War Two he acted as a scientific adviser in the production of optical apparatus in Australia. In 1946 he was appointed Principal and twelve years later he retired after a total of 44 years service. Dick Richards has been honoured through the naming of a Ballarat School of Mines prize - The R.W. Richards Medal. This medal later became a University of Ballarat prize. It has been awarded annually since 1959 to the Bachelor of Applied Science graduate considered to have achieved the most outstanding academic performance of their course. The award was was introduced to commemerate the long years of service to tertiary education in Ballarat by Mr Richards. See http://guerin.ballarat.edu.au/aasp/is/library/collections/art_history/honour-roll/honourroll_Richards,Dick.shtml Black and photo portrait of Richard W. (Dick) Richards, Principal of the Ballarat School of Mines. dick richards, r.w. richards, ballarat school of mines, antarctic explorer -
Federation University Bookplate Collection
Work on paper - Bookplate, EX LIBRIS E JEN W
After a quiet period, interest in bookplates in Australia began to increase in the early 1970s, Entrepreneurial art and book collectors such as Edwin Jewell and others commissioned multiple Bookplate designs from a range of well known fine artists. At a 1997 meeting in Melbourne of the Ephemera Society of Australia Edwin Jewell and others announced the formation of the Australian Bookplate Society. The society was instrumental in promoting the art of the bookplate through establishment of the Australian Bookplate Design competition. The competition includes a design award for secondary schools students.Coffee Cup with label of E JEN W to top of cup and a heading of EX LIBRISSigned in pencil lower right beneath image. -
Buninyong & District Historical Society
Photograph - Photo of Original Photograph, Wal Larsen, B/W photo of Buninyong Railway Station platform, looking north, in June 1940, June 1940
Railway and surrounds in 1940.B/W photo of Buninyong Railway Station platform, looking north in June 1940buninyong, railway, bunny, cutting, station, platform -
Stawell Historical Society Inc
Photograph, B/W photo of a group of People all in fancy dress, in front of Commercial Hotel
Primary School 502 “Back to School” 1922 group of people in fancy dress. In front of Commercial Hotel and Bank of Australasia Main Street StawellB/W photo of a group of People all in fancy dress, in front of Commercial Hotelstawell education -
Kew Historical Society Inc
Photograph, Stuart Tompkins Studios, W. D. Birrell, Town Clerk [Kew] 1936, c.1938
In Kew’s Civic Century (1960), Cr. W.D. Vaughan described William Dickie Birrell M.B.E. (1899-1974) as follows: “Mr. W. D. Birrell, who had been on the staff of the Country Roads Board after his return from active service with the First A.I.F., was appointed assistant town clerk on February 15, 1921. On Mr. Harrison’s retirement he was appointed town clerk and city treasurer, and has given outstanding service. His knowledge of municipal administration has been acknowledged by the Government calling on his services to advise on amendments to the Local Government Act. He is a past president of the Town Clerks Institute, and on the nomination of that body was honoured by Her Majesty the Queen in 1958 with the award of the M.B.E. He still occupies the position and is held in the highest esteem not only by the Kew Council, but also by local government administrators throughout the metropolitan area.” (page 132) He died on 7 May 1974, and his ashes were interred at the Boroondara General Cemetery. This portrait is one of a series of mounted and framed photographic portraits of Mayors and Town Clerks of the former Borough, Town and City of Kew, for the period 1863 to 1969. The portraits were transferred by the City of Kew to the Kew Historical Society in March 1989. A Significance Assessment in 2018, funded by the National Library of Australia confirmed the historic, and often artistic significance of the series. Framed portrait of W. D. Birrell - Town Clerk of the City of Kew from 1936 -. The mounting and framing of the photograph follows a typical layout or style in that it each is framed in dark wood, glazed, and laid down on an inscribed board. The inscription identifies the name of the town clerk and the year/s that he served.W.D. BIRRELL / TOWN CLERK 1938-town clerks - kew (vic), w.d. birrell, photographers - stuart tompkins studios - camberwell (vic), kew (vic.) — municipal collection -
Ringwood and District Historical Society
Photograph, 1950 - Parish Hall Xmas Party, Church of England, Ringwood Street, Ringwood. Mrs. Caughey, Mrs. McCrae Senr. Mr. and Mrs. G. Williams, Mr. John McCrae, Mrs. M. McCall, Mrs. McWilliam, Mrs. Dedman, Mrs. Win Leslie, Director
Typed below photograph, "1950 - Parish Hall Xmas Party. Mrs. Caughey, Mrs. McCrae Senr. Mr. and Mrs. G. Williams, Mr. John McCrae, Mrs. M. McCall, Mrs. McWilliam, Mrs. Dedman, Mrs. Win Leslie, Director". -
Ringwood and District Historical Society
Photograph, W. Pett - 1900 (William Pett)
Typed below photograph, "W. Pett - 1900" (William Pett) -
Melbourne Legacy
Album - Photo album, Col. W. Donovan Joynt VC
A photo album recording highlights of Legatee Donovan Joynt's life through photographs, newspaper clippings, and typed accounts. These have been catalogued separately to prevent them deteriorating any further on the glued plastic pages which were popular in the 70s and 80s. One of the final items was an extract from the Melbourne Legacy Bulletin dated 9.11.1989. A unique indication of how highly regarded Joynt was in Melbourne Legacy.Brown vinyl photo album, engraved in gold on front cover, two screws to hold pages in.Gold embossed with 'Col. W Donovan Joynt V.C.' on coverdonovan joynt, memorial