This ticket was used in the 1950's to gain entry into the Mount Beauty Cinema, located in the community Hall. This ticket was donated by the person who attended one film shown in this theatre. This was in an era where before the start of screening, the "British" anthem was played and all patrons were required to be up-stand. Sometimes if somebody was not standing the usher would advise the patron of their patriotic duties to the "Queen" required them to stand unless they were physically incapacitated. This act demonstrated the strong bond to "mother England". From the late 1960's onward this strong show of loyalty "faded away" into history.This theatre ticket is very significant to Mount Beauty because it was the access by the Kiewa Valley residents to "big city" movies. This was in a time frame when television was just beginning to be a popular household entertainment appliance. The Kiewa valley was for a very long time "out of range" for television reception and the only form of screen images were attending the Mount beauty Theatre (just like the big cities but on a more intimate level). Just like the city movie Theatres, the Mount Beauty Theatre, was the centre of the "after five o'clock" entertainment hub. This was a time when going to the theatre was a big event and townsfolk "got dressed up" for this special occasion.It was the gathering place for young and old.This thick cardboard Cinema ticket to the Mount Beauty Theatre (cinema) has two distinctive sections separated by a single perforation. One section for the doorkeeper and one section to "kindly retain". The colour is light green with black print. The ticket was printed by RENWICK PRIDE.On each side of the perforation is printed, "Mt. BEAUTY" underneath in smaller print "THEATRE" underneath a dividing line "RES. SEAT" and stamped underneath "F" "13". Below these on the left side "DOORKEEPER" and on the right side "KINDLY KEEP"ticket, small theatre, local entertainment, public movie theatre, mount beauty cinema

Horse harness is composed of a number of items some leather and other pieces are metal such as these particular ones. The loose attachments allow for the movement of the horse without its muscles being impinged or hampered. There are a number of different types of harness which relate to the type of work or recreation being engaged at the time and for different breeds of horse. Many of the leather straps were also adaptable allowing for different sized horses to use the same set of harness. These items are quite heavy are were possibly used by work horses of an earlier era. They were possibly made locally at one of the many blacksmiths in the town.Parts of a common item from earlier times and as such has historic significance. It opens the discussion of the use of horses in everyday life and work.Three similar oval shaped items with a wider flatter section at one end and a thicker heavier section on the other end. They are made of iron and heavily rusted.history of warrnambool, horse harness

Photo The Devil's Elbow A22 with car travelling through the bend showing hazardous section and clearly showing the flags marking one way sections of the roadPlastic Label tape visible at top of imageg.o.r: devil's elbow, chairman of gor trust, single lane on gor, 1920's

Satin bag in four sections with one section open as flap. Embroidered Initials 'A. D. ' Blue flowers with green leaves. Blue satin padded inside.personal effects, containers

This was one of the first formal indications of the dissatisfaction among miners of the conditions on the goldfields, including the issue of licences. Over 5000 miners from Ballarat, Bendigo and Castlemaine signed the petition that was presented to Lt. Governor, Charles LaTrobe. These dissatisfactions eventually culminated in the Eureka Stockade rising.Lever arch folder containing copies of 1853 Bendigo Goldfields Petition section 1, Life on the Goldfields section 2 with some black & white illustrations.books, collections, history, bendigo-history-goldfields-miners

Ticket - Pre-paid 2 sections printed on blue card, MMTB printed for the PMG, punched for "IN" at the 2 section mark. Has the conditions of travel on the rear.trams, tramways, mmtb, tickets, pmg, sections

Blue hard cover book with multiple sections inside, each section containing its own numbering system. Some advertisements and photos throughout the book. non-fictionThe Australian Fisheries Magazines fisheries, fishing, maratime

Blue hard cover book with multiple sections inside, each section containing its own numbering system. Some advertisements and photos throughout the book. non-fictionThe Australian Fisheries Magazines fisheries, fishing, maratime

Photograph. (proof 80) A brick and timber building in two sections, with an iron roof. The wide verandah on the brick section has ornate cast iron lacework and the timber section has seating under the verandah. In the foreground there is a man on horseback rounding up a mob of sheep.buildings, hotel, royal , millers flat, royal hotel, millers flat

The drawing is very detailed showing streets, cross streets, route, loops, schools, woollen mills, ovals, sections, track phones, stops, route and track miles, pedestrian crossings, railway stations and notes on through route mileages.Print of a drawing showing in very good detail, the schematic layout of the Geelong Tram system. Produced in 1953 and sent to Tramway Supt. in 1970 for his records. Gives very detailed information on another SEC tramway system.Dyeline print of SEC Drawing No. GE-T13-8829, titled "Schematic Diagram Geelong Tramway Routes". Drawing prepared 27/8/1953. Stapled to the top right hand corner of the sheet is a SEC memo form from finance section, distribution services to the Dept. Tramway Superintendent, Ballarat, dated 6-2-1970 forwarding Les Denmead the plan. Was unstapled during the 1/2008 copying of the drawing. On top right hand corner of drawing, "Ballarat Tramway Preservation Society Catalogue No. 605" in ink and on rear in two places "Geelong Tramways" and one "BTPS 605"geelong, map, track layout, tram stops

This card has a sketch map showing the properties surrounding Dunmore on one side and a detailed sketch plan of Dunmore homestead in the early 1970s on the other side. The plan of Dunmore homestead shows interesting features such as the brick oven for bread making, the croquet lawn, the site of the aboriginal mia mias, the Turkish baths and the fowl house used later as a poison house. Francis and Ann Baulch were pioneer settlers in the Kirkstall area and their son Samuel worked at Dunmore in the Macarthur area before purchasing in the early 1870s the property he named Rose Park. In the 1890s he acquired property in the Dunmore estate and his son Stan Baulch gained a section of the Dunmore property after his father’s death. Stan Baulch named this Dunmore section, Rose Park, a property to the west of his father’s original Rose Park property. Stan Baulch was a long time member of the Warrnambool & District Historical Society and he contributed many local history articles and donated many local artefacts to the Society.This sketch plan is of interest as it tells us what the historic homestead of Dunmore in Western Victoria was like in the early 1970s. It will be useful for research. This is a sheet of white lightweight cardboard with a pencilled sketch on one side and a blue ink sketch plan of a house on the other side. The edges of the card have some torn sections. The card is enclosed in an oval cardboard cylinder (recycled and torn at the ends). Both the card and the cover have handwritten titles in ink. Dunmore Homestead & History by S. Baulch Dunmore Homestead drawn by Stan Baulch c.1972 dunmore property, western victoria, baulch family

Written on back of photograph, "Moving sections of house in Adelaide St. 1966." "Transporting house from Adelaide St.", and "Moving sections of house in Adelaide St. on site of supermarket". 3 views

These membership record sheets appear to have been used for a period as part of membership up to about 2005.Membership record sheet, all print in blue, double sided, divided into 12 tear of sections, 3 sections in a row are for 3 purposes, sub branch record, State Branch remit and RSL member, front face has the RSL logo on all 12 sections.brsl, smirsl, membership rsl

Gold plastic winged badges with gilded features and metal attaching pin. Centerpiece has gilded word "JUNIOR" in upper section; gilded "TAA" in white background in centre section and gilded "FLYER" in blue background in lower section. Part of the Aileen and John Ellison Collection.On the back: Stoffel Seals, Tuckahoe, N.Y.taa, airlines, badge

soft cover with photo of Gen Macarthur and Pm John Carin and photo of marching soldiers 750 pages with three photo sections spine in silver with black section.First page in pen " Donated by Fred Coleman."books, military, political

1553.1)Leather Gaiter Metal Tongue for joining Bottom Section 1553.2) Leather Gaiter Metal Tongue for joining Bottom Section Both are made of Brown Leatheruniforms - army, military-equipment, gaiters

These postcards were made for sale in the Orbost Ehibition Centre. The Snowy River Talking Wall is on the lower outside of the Orbost Exhibition Centre. The cards relate the history of Orbost both indigenous and white. The contributors are: Barry Miller; Gary Green; Becky Illume; Dawn Van Den Berg; Ruth Hansen; Geordie Webb; Graham Falls; Laurie Harvey and Jonathon Renn. The Orbost Exhibition Centre is a community based, not-for-profit arts and entertainment center in Orbost, Victoria. It is the home to the National Wood Design Collection and the Annual Australian Wood Design Exhibition. Wood Workers of Orbost and District initiated the Orbost Exhibition Centre back in 1997 and it was opened in 2004. (from web-site)These postcards are pictorial advertisements for Orbost. They are associated with the Orbost Exhibition Centre, an important tourist attraction, in the town.A set of eleven coloured postcards. Each depicts a section of the Snowy River Talking Wall. Each is a folded rectangle of cardboard with a photograph of a section of the display and information relating to it.talking-wall-orbost postcards orbost-exhibition-centre

The fruit juice or lemon squeezer is a small kitchen utensil designed to extract juice from lemons or other citrus fruit such as oranges, grapefruit, or lime. It is designed to separate and crush the pulp of the fruit in a way that is easy to operate. Lemon squeezers can be made from any solid, acid-resistant material, such as plastic, glass, metal (usually aluminum) or ceramic. The oldest known lemon squeezers were found in Kütahya, Turkey and date to the first quarter of the 18th century. These ceramic presses are in the traditional style of Turkish pottery of the 18th century and have a superficial resemblance to today's press equipment with cones, though they are designed differently. These examples were individually made, and specially designed for making the then popular citrus drink sorbet. Lemons are not native to northern Turkey, though during the 17th and 18th centuries they were imported in bulk to Constantinople.The fruit juice press is an example of early 20th century kitchen utensils and is not associated with an historical event, person or place, provenance is unable to be determined at this time and the item is believed to have been made around 1900. This item is currently being used in Flagstaffs Hill village display and regarded as significant as it demonstrates domestic kitchen utensils used around the turn of the 19th century and today is a collectable item. Vintage lemon/citrus fruits squeezer cast iron juicer with two sections hinged together strainer on one section has holes for letting liquid escape.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, food press, food preparation, fruit juice press, kitchen utensil

A sign that originally hung near the Comradeship room where Legatees met regularly.Comradeship meetings were very important to the Legatees. Legatees supported each other by coming together for various events throughout the year. Yellow hand painted board with rounded edges and black text. Four holes through board. Top section is painted in gloss, lower section in low sheen.comradeship, legatee event

A small number of heavy cast iron weights and two rods remain at the Point Hicks Lightstation. These weights comprise one rod with a forked top and four circular weights attached to the bottom of the shaft. The weights and rods were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene‐fuelled light turning. They were attached to a cable or chains and moved vertically in similar fashion to the way weights move on grandfather clocks. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. The cables and weights in this lighthouse were visible as they moved through the length of the tower up to the lantern room. It was usual for systems to move inside a tube extending up to the top, but in this case the tower’s cast iron spiral staircase, which is supported on cantilever cast iron brackets set into the concrete wall, spiralled around the space in which they moved. Lighthouse keepers had the arduous job of having to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, all of this became redundant and the motors were able to turn the optic for as long as there was power to drive them. In December 1964, the original 1890 Chance Bros kerosene‐fuelled light and clockwork mechanism were replaced by small electric motor, and the number of keepers reduced to two. The six circular weights and rods originate from the obsolete system and may have been part of a larger set. Wilsons Promontory retains seven of its original set of ten weights, all of which are detached from the tower’s weight tube. Cape Schanck has a set of fourteen weights remaining in situ as well as another four detached weights, which have inscriptions. One weight is displayed in the lantern room at Cape Otway. The image shows four of the clockwork weights attached to a rod with a forked top. They were part of the original clockwork mechanism that was fitted beneath the lens to keep the kerosene‐fuelled light turning. The Aldis lamp in its case sits on the floor next to the weights. Source: Parks Victoria.The Point Hicks weights have first level contributory significance for the insights they provide into the superseded technology and operations of a late nineteenth century lighthouse. They are well provenanced and are significant for their historic value as part of the lightstation’s Chance Brothers optical system installed in 1890. Four circular metal weights are stored on a metal rod with a forked section at the top. The weights have a cut out section which allows the weights to be removed easily.