Ill, p.292.fictionThe 'sketches' in this volume are more the substance and length of short stories illustrating the development of the tools of the Masters trade: farce, parody, irony, black humour and wonderful one liners which unerringly hit the mark. The ensuing narrative, however, brings the listener bumpily back to earth with a reminder of the mean and often tragic lives that were being endured in the busy, uncaring metropolis. The stories are in the following order and entitled; The Dancing Academy, Shabby Genteel People,The Prisoners Van, The Boarding House, Mr Minns and his Cousin, Sentiment, The Tuggses' at Ramsgate, Horatio Sparkins, The Black Veil, The Steam Excursion, The Great Winglebury Duel, Mrs Joseph Porter, A Passage in the life of Mr Watkins Tottle, The Bloomsbury Christening, The Drunkards Death.english fiction, charles dickens 1812-1870

Ill, p.176.non-fictionPoetry and short stories of Australian art and literatureart - australia, literature - australia

Ill, p.226.non-fictionA collection of short stories on various topicsanthologies, world war 1914-1918 - gift books

A short history celebrating the 50th year of the Heidelberg Golf Club. Produced by HGC members Dick Banks and Greg Anderson, and known as the 'gold book', this was published in 1978 to celebrate the 50th anniversary of the opening of HGC in 1928. It contains interesting stories about the formation and development of the Club.Describes the early days of the Club16p., Illus. (some col.). Gold coloured cover.heidelberg golf club, 50th year, greg anderson, dick banks

Time is an abstraction, a filing system used to arrange events and memories into a logical system of cause and effect. This new print was created with images arranged from drawings made while sitting by paths near nature, creeks and overlapping streets. I am a local artist and illustrator with a history of drawing, painting and printmaking.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

When I visit Merri-bek I wonder, when I step on the tarmac of the Barkly Square carpark, what was here before? In fact, at this spot and across Brunswick there were clay pits, which would feed the pottery workshops in Brunswick that produced the pottery, gargoyles and decorative items for Marvellous Melbourne homes and suburbs. Marvellous for those who had profited from gold, property and finance, not so for those working in the clay pits. My print is a contemplation on what is beneath our feet and our relationship to the ground. I am a design academic working at RMIT University and began my print and design practice on a Golding foot-treadle Letterpress machine.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

Merri-bek’s bi-annual collection and the communities’ tendency to dump rubbish makes these temporal sculptures part of the visual landscape of walking in Merri-bek. The collections of personal items, untold stories and connections which we all piece together whilst on an afternoon stroll. Over the years trends in pet ownership and technology advances can be documented in discarded items, also commenting on wealth and material value of objects. I have been living, parenting, working and volunteering in Merri-bek for the last 9 years. As time passes the community and landscape shift and change as does my connection to it. A once dedicated art practice is now tumbled around with life and family. Photography, video, drawing and painting are used to explore ideas around the everyday and meaning we attach to small moments of time.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

With two young kids, I often find myself at Coburg Lake on a weekend, playing amongst the natural beauty of the park area, rugged embankments, local birdlife, and... ‘Bin Chicken Island’. Bin Chicken Island has become a running joke in the community, known for its wafting stench and as an environmental eyesore (never go to the park on a warm day with an easterly breeze). So much so that someone added a campground listing on the island to Google Maps. Whenever I drive past the lake, I always keep an eye out for disgruntled backpackers who have realised that the only camping to be had is by the Bin Chickens themselves. I am a local graphic designer who lives in Pascoe Vale and works in Brunswick. I head up the design studio, Atticus Design.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

The image is based on a 3D component of one of my recent series of jewellery artworks. The heart metaphorically alludes to two locations of Merri-bek. One is Moreland Road, the other is Wallace Street in Brunswick. These locations pinpoint a time of collective trauma and communal experiential reflection. I was born in Brunswick in 1984 and have lived and worked there since. Brunswick for me is filled with stories of family, community, growth, tragedy and history experienced across a Greek Diasporic framework.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

My work is dedicated to the animal residents that cohabit with us in the suburbs. I focused on the Red Wattlebird, as it is always a welcome visitor across the gardens and parks of Merri-bek. The frayed edges of the page from my notebook are reminiscent of the act of note taking and how we remember and observe things in our daily lives. I am a local artist and writer living in Naarm with a studio in Coburg as part of Schoolhouse Studios.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

Ancestral Bouquet is a visual homage to the different plant species each migrant community brought with them to the lands of Merri-bek. It is a celebration of these plant communities and those (elderly migrants) who still know and practice traditional forms of food harvest and preparation. I was born and raised in unceded Wurundjeri Willum Country, in Coburg. My Father lived in the Southern Suburbs of Naarm as a refugee from Palestine, and eventually found Coburg as a place he could fit in as a migrant. My arts practice varies in modalities, and always comes back to the story of displaced cultures, my folklore, and my connection to Coburg and the Merri Creek.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

This image of Coburg Olympic Swimming Pool represents my connection to Merri-bek / Moreland. Being brought up around water, swimming has played a key role in my family and I feel a sense of the community when swimming in a public pool. The gum trees and the proximity of this pool to the river reminds me of my home town, Albury. For me, a public pool is a gathering place, a place of leisure and play, somewhere to learn and grow, spend time and let go.10Press brings together a diverse group of creatives who were invited to make a new artwork inspired by the theme of ‘Moreland: its creative future, its past or other hidden stories’. Artists were invited to respond to the prompt ‘Moreland’, using only one or two colours. This body of work was created in 2022 during a significant time in local history, which saw Council’s name change from ‘Moreland’ to ‘Merri-bek’. The printed bellyband of the folio highlights this transition, with the word ‘Moreland’ crossed out and replaced with Woiwurrung language name ‘Merri-bek’. Commoners Press is a Coburg-based print studio that works with artists and designers in Australia and abroad on short run projects. Established by Jan Brueggemeier, Rob Eales and Neal Haslem in 2017, Commoners Press focus on projects that are community-centred, experimental and sustainable. Donated by Commoners Press Letterpress print

The gold cross was discovered by Victorian scuba diver Julie Wilkins, who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands, then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village, her photograph was taken as she handed over her precious find. She told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. The small decorative cross dates back to on or before 1878, when the Loch Ard had set sail. The loop and ring have been added, perhaps as a pendant, pocket watch accessory or similar purpose. It may have been worn for ‘good luck’ or a ‘blessing’ on the long journey to Australia, where ships had to carefully navigate the treacherous Bass’s Strait before arriving at their destination of Melbourne. Sadly, many met their fate on that short stretch of ocean aptly named the Shipwreck Coast. The cross is very recognisable even though it was exposed to the wrecking of the ship, its consequent movement, and the sea's turbulence. Its scratched, pitted and worn condition, and the damage near the loop, is part of its story. The red-brown-black discolouration is similar to that found on other gold coins, sometimes called the ‘corrosion phenomena’. Studies suggest the possible cause is contaminants in the minting process reacting to the coins’ environment. Three edges of the cross have slightly raised narrow ridges of gold which could have been cause by the gold being cast liquid gold into a mould.This gold cross pendant is significant as a symbol of Christianity, a sign of hope and safety, and a sample of the religious following on board the Loch Ard, although not everyone wears a cross for this reason. This cross is a sample of jewellery owned by people migrating to Australia in the late 19th century. The cross and the guinea recovered together from the wreck of the Loch Ard are made of gold and help interpret the financial status of some of those on board.Gold cross; yellow gold with decorative hand engraved foliage design on the front, fitted loop and ring on top. The simple Latin or Roman variation of the cross, with an elongated vertical arm, has no figure on it and the reverse has no decoration. The right, left and base edges have sections of narrow, long slightly raised ridges. The top edge has remnants of red-black colour. Victorian era cross, ca. 1878. The cross was recovered from the wreck of the ship Loch Ard.Engraved foliage design. Slightly raised long ridges on sides and base edges. flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, gold cross, religious cross, religious trinket, religious jewellery, engraved cross, cross pendant, cross with ring, victorian era, 1878, antique cross, crucifix, religious symbol, christian symbol, christian jewellery, contamination phenomena, gold corrosion, good luck, lucky charm, blessing, pendant, loch ard, wreck of the loch ard, mutton bird island, peterborough, scuba diver, 1980s, shipwreck artefact, relic, latin cross, roman cross, pectoral cross, julie wilkins

The clock parts were discovered in 1980 by Julie Wilkins, a Victorian scuba diver who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands and then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village, her photograph was taken as she handed over her precious find. She told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. This group of brass clockwork parts is incomplete. The pieces were in the ocean for over 100 years before Julie recovered them from the Loch Ard wreck. Their size would suit the works of a carriage clock, with a mainspring and weight to power the clock movement, a pendulum to measure the clock's speed, arbours, posts, pillars and at least one other plate. They would have been mounted inside a protective case with a small door to easily access the clock face for setting the time and accessing the key's winding hole. The clock cases were usually made from decorative gilt brass with a glass front and a carrying handle. The parts include a weighted second hand with a decorative four-pronged finish at one end, a rounded weight at the other, and a hole for attaching it to the clock face. The gear teeth profiles are ‘cycloidal’, an arch shape with vertical sides, which is common for antique clocks. Modern clockworks have ‘involute’ teeth with sloping sides and a squared-off top. The brass carriage clock parts are an example of a mechanical clock produced in the 1870s. The clock's design is a part of the chain of technological improvements in methods for timekeeping. Its cycloidal gear teeth were the forerunner of the more modern involute gears. The group of clock parts includes a weighted hand or arm for signifying the seconds. This feature was uncommon in portable Victorian-era clocks. The clock parts are also significant for their association with the ill-fated sailing ship Loch Ard, wrecked in 1878. The travelling clock or officer’s clock may have been part of the cargo destined for the 1880 Melbourne Exhibition, or the personal possession of one of the people on board the vessel. Brass clockwork parts from a mechanical clock, sixteen pieces. Parts comprise a plate, large gears or wheels, small pinions or wheels with fine teeth, wheels with cogs, and a weighted second hand. The parts were from a carriage clock ca. 1878. They were recovered from the wreck of the sailing ship Loch Ard.flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, loch ard, wreck of the loch ard, 1878, mutton bird island, peterborough, scuba diver, 1980s, shipwreck artefact, relic, clock, mechanical, clock parts, time, timekeeper, horology, chronometry, cogs, time keeping device, scientific instrument, chronometer, john harrison, longitude, carriage clock, coach clock, portable clock, travelling clock, travel clock, traveller’s clock, officer’s clock, weighted second hand, victorian era, cycloidal gear teeth, brass clock, julie wilkins

Item about the BTPS launching No. 18 into formal service with its previous owners, the Borough of Sebastopol and a short history of the tram and its life in Ballarat. Has photos of the day.Newspaper clipping, from The Courier, 25-3-1985 titled "Tram No. 18 rides again", about the launch of Ballarat No. 18 into formal service with the Borough Of Sebastopol president. Gives story of the tram and relationship with Council, quotes Frank Hanrahan and Warren Doubleday. Has photo of Frank Hanrahan and Mayor Cr Graham Collins presenting a photo of the tram and photo of the tram breaking streamers leaving the depot. Event took place on 23/3/1985. Article notes that 40 had its first official run since restoration to its bogies. See Reg Item 3829 for the black and white print of No. 18.btps, borough of sebastopol, launch

This glass plate photograph shows good detail of members of the Warrnambool Garrison posing for their photograph in front of a young township. There are other well-dressed citizens behind them. The three men with frogging on their sleeves were commanders were likely to be commanders. The men are facing north with Cannon Hill and the fortification area in the background. It dates from the 1860s. The firearms held appear to be 1853 pattern Lee Enfield muskets used by the British army in Crimea at this time and in Australia, rather than the later Martini Henry cartridge rifles. The uniforms match other photos of the Warrnambool Garrison Militia and Band in our Collection, taken up until the 1880s. The three storey building in the photograph is likely to be the Manifold & Bostock flour mill, built in 1854 near the ‘cutting’ in Merri Street, which was one of the main streets at the time; if one faced the building’s front from a vantage point and looked south to south-east, the hills around Flagstaff Hill and Cannon Hill would be behind that mill, and the Harbour behind the hills. This is the area of the Fortifications. The glass plate method of photography was widely used during the mid-19th to early-20th century. The donor and maker of the photograph are unknown. Around this time the citizens of Victoria were prospering from the gold rush but felt isolated and uneasy about their security in the colony. In 1854 the Volunteer Act was passed to provide some military defence. In 1858 the Warrnambool Volunteer Rifle Corps was established, disbanded in 1863, then a new Warrnambool Detachment was formed in September 1866. Legislation was passed in 1884 that replaced the volunteers’ corps with a partly paid, permanent Militia Defence Force. The batteries manning the coastal forts of Victoria were termed Garrison Artillery Companies. When the Army was federated in 1901 there were eight Militia Companies in Victoria. Warrnambool and Port Fairy together were known as 8 Coy AGA (Australian Garrison Artillery). Changes to formation and name continued into the 20th century.This photograph is a record of the very early local defence force, circa 1866. The photograph signifies the connection of the colony in Victoria to the growing need for security due to the unrest in Europe at that time. The photograph is also locally significant to the industry of the young township of Warrnambool, showing what is likely to be one of the first flour mills in the town. The photograph is also the only example of the early methods of glass plate photography in our collection. Photograph, rectangular glass plate, positive sepia image. Photograph has brass framed edges that fold over to the back, with mitred corners. The front edges are pressed with a decorative floral pattern. The photograph shows a group of thirty military men, standing or kneeling, in dark uniforms with pillbox forage caps, round-collared jackets with light buttons, light sashes worn from top left shoulder to bottom right side of waist belt, and long, straight-legged trousers. Three of these men have light braid around the buttons on the front of their jackets, light frogging on their sleeve cuffs and stripes on the outside seams of their trousers. The other twenty-seven men have plain uniforms and are holding firearms in their right hands, steadied with their left hands. Other figures are standing behind this group of soldiers, including three or four men wearing top hats, jackets and ties. In the background is a row of buildings. The central building is three stories high. Bare hills are in the far background. The foreground is uneven ground with patches of short grass. Photographer looking towards the south east and Cannon Hill, with the Warrnambool Garrison facing north, ca.1860s.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glass plate, photography 19th century, colonial forces, military defence, volunteer act 1854, volunteer rifle, garrison artillery, volunteer corps, militia, militia garrison band, pillbox forage caps, helpmann, manifold and bostock, 1853 lee enfield musket, tintype, warrnambool garrison, 1860s, cannon hill, manifold & bostock, flour mill, 3-storey building

Compact Diskette with video (DVD), titled "Tram it Day", celebrating "100 Years of Electric Trams" and "Celebrating 100 years of continuous service", with a printed front, logos contained within a clear plastic bag. Features images and video from the "Tram it day" - 8/10/2006 - interviews with Dennis Cliche, tramways band, held at Docklands on , a celebration and function at Melbourne Zoo as part of the Good Friday appeal. An ABC news story about the launch of centenary art tram, including interviews with Peter Batchelor and Craig Tooke. A production featuring historic images and film clips interwoven with short film clips of various tram crews speaking about the job and how they enjoy it, or groups of employees saying "Happy Birthday" - includes Ron Scholten, Two copies held.trams, tramways, yarra trams, 100 years of electric trams, docklands, tram crews, displays

The coin was discovered by Julie Wilkins, a Victorian scuba diver who had already experienced more than 500 dives in Australia and overseas. She was holidaying in Peterborough, Victoria, and looking forward to discovering more about the famous Loch Ard ship, wrecked in June 1878 at Mutton Bird Island. The fast Glasgow-built clipper ship was only five years old when the tragedy occurred. There were 54 people on board the vessel and only two survived Julie's holiday photograph of Boat Bay reminds her of her most memorable dive. Submerged in the calm, flat sea, she was carefully scanning around the remains of the old wreck when, to her amazement, a gold coin and a small gold cross suddenly came up towards her. She excitedly cupped them in her hands, then stowed the treasures safely in her wetsuit and continued her dive. She soon discovered a group of brass carriage clock parts and some bottles of champagne. It was a day full of surprises. The items were easily recognisable, without any build-up of encrustations or concretion. Julie secretly enjoyed her treasures for twenty-four years then packed them up for the early morning train trip to Warrnambool. After a short walk to Flagstaff Hill Maritime Museum and Village, her photograph was taken as she handed over her precious find. She told her story to a local newspaper reporter, lunched a café in town then took the late afternoon train home. Her generous donation is now part of a vast collection of Loch Ard shipwreck artefacts, including the gold watch and the Minton Majolica model peacock. The coin is a British 1793 George III Gold Spade Guinea. It was already 83 years old when the Loch Ard had set sail. The loop and ring have been added, perhaps as a pendant, pocket watch accessory or similar purpose. It may have been worn for ‘good luck’ on the long journey to Australia, where ships had to carefully navigate the treacherous Bass’s Strait before arriving at their destination of Melbourne. Sadly, many met their fate on that short stretch of ocean aptly named the Shipwreck Coast. The coin is very recognisable even though it was exposed to the wrecking of the ship, its consequent movement, and the sea's turbulence. Its bent, scratched, buckled, split, dinted and worn condition is part of its story. The red-brown-black discolouration is similar to that found on other gold coins, sometimes called the ‘corrosion phenomena’. Studies suggest the possible cause is contaminants in the minting process reacting to the coins’ environment. The GEORGE III GOLD SPADE GUINEA: - The British Guinea was introduced in 1663 and was circulated until 1814. It was made of 22 carat gold, was 25 to 26 cm in diameter and weighed 8.35 grams. It had a value of 21 British shillings. The guinea coin ceased circulation after 1816 and was replaced by the one-pound note. However, the term ‘guinea’ continued to represent 21 shillings. King George (1738-1820) had six gold guinea designs minted during his reign from 1760 and 1820. Each of the six had different obverse portraits, all facing the right. There were three different reverse sides. The Spade Guinea was the fifth issue of the coin, introduced in 1787 and produced until 1799. The reverse shows a royal crown over a flat-topped shield with the Royal Arms of Great Britain, used in Scotland between 1714 and 1800. The shield images are, from left to right, top to bottom, the Arms of England and Scotland, the Arms of France, the Arms of Ireland, and the Arms of the House of Hanover. The Gold Guinea is also part of Australia’s history. It was the first coin mentioned in the announcement of Governor King of New South Wales his Australian Proclamation of a limited variety and denomination of coins accepted for use in the Australian Colony. The historic and decorative George III Spade Guinea has been reproduced for special collections of coins. However, replicas and imitations have also been made as souvenirs for tourists, as gaming tokens and chips for gamblers, and as ‘fake’ coins for profit. These coins differ in many ways; they may be only half the weight of the genuine coin. Often have a small stamp on the obverse with “COPY” or the manufacturer’s name or initials. Some have scalloped edges, some have dates that are different to the original dates of issue, and some even have text in Latin that translates as something very different to the original coin.The King George III Guinea was only produced from 1663 to 1814 and was the first English coin to be mechanically minted. The coin is the fifth edition of the King George III Guinea, the Spade Guinea, was only produced between 1787 and 1799. It is the only edition with this portrait of King George and the only one with the Royal Coat of Arms of Great Britain in Scotland on the reverse side. This edition was also the last guinea in circulation, because the sixth edition was reserved as the Military guinea. This edition of the Guinea is unique; This coin is the only guinea in our collection. It was minted in 1793, so it is now over 230 years old. The Gold Guinea is part of Australia’s history; it was the first coin in the list of coins for use in the Australian Colonies, mentioned by Governor King of New South Wales in his Australian Proclamation speech of 1800. The George III Spade Guinea was included in the Limited Edition Sherwood 12 Coin Collection of Notable Coinage of Australia. This coin is the only known guinea coin recovered from the wreck of the Loch Ard. It was already 85 years old when the ship was wrecked.Gold coin; British. 1793, King George III of the United Kingdom of Great Britain and Ireland (1760-1820), Spade Guinea. Yellow gold coin with gold metal loop mount and a gold ring through the loop. The design is the fifth issue of the George III Gold Guinea. The obverse relief is a portrait of George III facing right. Reverse relief is a crown above the Coats of Arms (1801-1816) of flat top spade-shaped shield divided into four quadrants that depict crowned lions, fleur de lies, a harp. These images are identified as, from left to right, top to bottom, England and Scotland, France, Ireland and Hanover. Inscriptions are minted around the rims of each side. The coin is dated 1793. Its surface has dark areas on both sides and the reed edge and surfaces are well worn. The loop mount is bent and the ring is buckled. The coin was recovered from the wreck of the ship Loch Ard.Obverse text; 'GEORGIVS III DEI GRATIA' (translates to George the Third, by the Grace of God) Obverse relief; (King George III bust, facing right, laurel wreath on head) Reverse text; 'M.B.E.ET.H.REX.F. D.B.ET.L.D. S.R.I.A.T.ET.E' '1793' (translates to: King of Great Britain, France and Ireland, Defender of the Faith, Duke of Brunswick and Lüneburg, Arch-Treasurer and Elector of the Holy Roman Empire) Reverse relief; a spade-shaped image i.e. (Crown with fleer de lies, above Shield with crowned lions in different postures, a harp, and other details)flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, royal mint, british coin, currency, guinea, military guinea, australian currency, british guinea, gold coin, spade guinea, king george iii, george iii, fifth portrait, arms of england and scotland, arms of france, arms of ireland, arms of the house of hanover, coins, gold coins, gold medallion, georgian era, 1793, numismatics, contamination phenomena, gold corrosion, good luck, lucky charm, pendant, lucky coin, trade, loch ard, wreck of the loch ard, 1878, mutton bird island, peterborough, scuba diver, 1980s, guinea coin, gold guinea, shipwreck artefact, relic, julie wilkins

Kith Kiln was the site of a short lived charcoal kiln designed to provide an alternative to petrol during World War 11 when there was a fuel shortage. Local history has been told by Genseric (Bill) Parker and the reflections collected by Friends of Kirth Kiln (under the auspices of Parks Victoria).The booklet is significant because it tells the story of the development of the Kirth Kiln Park in Gembrook, from the Friends perspective.The park is not only historical but is also of great environmental significance and it forms part of community life in the district. Green soft cover booklet of 128 pages. The front cover has 2 photos; the top one of the caretakers compound with Forest Commission huts and the bottom photo is of the Lake, taken from the dam on Tomahawk Creek. The back cover has a diagram of the Kiln logo.Fireside Stories with Genseric (Bill) Parker and Lorna Parker. Reflections collected by Friends of Kirth Kiln.kirth kiln, genseric parker, parks victoria, gembrook, charcoal burner

This booklet relates the life of Basil Watson. It tells in detail his early life, background, his home built aeroplane, his display flights and his tragic death and the story since. This year marks 100 years since one of Australia’s pioneering aviators, Basil Watson arrived in Warrnambool and delivered the first airmail to the town. Basil Watson was born in Bendigo in 1894. His interest in aviation which began at a young age, took him to England at the commencement of WW1 where he worked at Brookland in aviation workshops and as a test pilot. Despite crashing and suffering injuries he was not deterred. He returned to Australia and by 1916 Basil had built his own plane. He soon took to the air performing tricks and barnstorming to the delight of onlookers. His connection to Warrnambool lies with his delivery of the first airmail to the town, an event which was filled with much excitement. Basil Watson, pioneer aviator landed his 50hp home built aeroplane on the racecourse on Saturday January 27th 1917, after a flight from Point Cook. The trip of 166 miles took just under two hours, and set a record non-stop cross country flight for Australia. Watson was heartily welcomed by the Mayor, to whom he delivered three letters, the first aerial post to Warrnambool. One of the letters, from the Mayor of Melbourne Sir David Hennessy to the Mayor of Warrnambool is now in the W&DHS collection: I have much pleasure in sending you greetings by aeroplane piloted by my friend, Mr Basil Watson. I hope when the cruel war is over and victory crowns our efforts, we, over the Commonwealth, will be able to fly from one State to the other. With best wishes for the New Year. Yours truly, DV Hennessy. Basil Watson was unfortunately killed two months after his historic visit to Warrnambool. While participating in an air show at Point Cook, the plane he way flying that day crashed into the sea. This booklet tells the story of an interesting part of Warrnambool and Australia's aviation history. It has special significance as it enlightens two significant items in our local collection, namely the letter which he delivered and the seat from his aircraft.A small 29 page booklet with blue and white photograph of Basil Watson in his aeroplane. It contains a number of black and white and some colour photographs. Introduction from the author, "This small booklet recognises the short career of Basil Watson. He came to my attention when researching the French aviator Maurice Guillaux who carried the first official air mail in Australia, Melbourne to Sydney in two and a half days 16/18 July 1914..... Tom Lockley 1 June 2017. Handwritten inside front cover,"These items may be of interest to add to your material about Basil Watson. Its a pity that the 100 year anniversary of his flight was not more widely recognised but thank you for mounting some of his records. Tom Hockley."warrnambool, basil watson, first airmail flight, aviation career of basil watson

Contents: • Well . . .things have been somewhat different by Jim Connor • More Thoughts about COVID Experiences o Wendy Wilson o Kitty Green o Rose Dumaresq • Some short comments about COVID experiences • Eltham Pool: Various Views o Gayle Blackwood o Frank Taylor o Ann Constable o Russell Yeoman • Vale – Max Dimmack 1922-2020 • It Has Been Some Coincidence by Jim Connor • Eltham Cemetery Stories by Richard Pinn o Alistair Samuel Knox o William Morris • Contacts for the Eltham District Historical SocietyThe Shire of Eltham Historical Society was formed in October 1967. The first newsletter of the Society was issued May 1978 and has been published continuously ever since on a bi-monthly basis. With the cessation of the Shire of Eltham in late 1994, the Society's name was revised to Eltham District Historical Society and this name first appeared with issue No. 103, July 1995. The collection of the Society's newsletters provides a valuable resource on the history of the Society's activities, office bearers and committee members, guest speakers and subjects of historical interest pertinent to the former Shire of Eltham and the Eltham District.A4 newsletter distributed to members (Digital and A4 photocopy)newsletter, eltham district historical society, covid-19, coronavirus pandemic

A collection of short stories for a nation divided. vietnam war - 1961-1975, president j f kennedy, president lyndon johnson