Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Women's left brown peep toed, cut out, heeled shoe, manufactured by Hush Puppies. Only the left shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Women's left black leather heeled shoe, manufactured by Hush Puppies. Simple and unadorned in style with a rounded toe. Only the left shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's tan coloured shoes with appliqued leather design attached to the laces creating a wave-like point on the sides of the shoes.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's black leather brogue shoe. Leather detail stretches around the bottom of the shoe and the toe as well as around the opening of the shoe and the laces.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.The bag is small, tanned leather with a panel on the front of the bag made from delicate, tanned barramundi skin. The handle is attached to the bag using a gold loop in the centre, top of the bag and one long adjustable strap, The main clasp of the bag features an image of the Australian emblem above the Olympic rings, the reverse of the bag is unadorned.Clasp on the front of the bag has the image of the Australian emblem over the Olympic rings. On the inside of the bag is a label- "Witney Green" "Made in Australia"1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8142.1 - Olive green long wool/nylon blend socks without packaging. 8142.2 - Olive green long wool/nylon blend socks in packaging.8142.2 - On packaging- "Shoe size Kingsize11-14." "Wool Rich Blend." "HOLEPROOF HEROES" "Help put Australia back on its feet." On reverse of packaging- "If every Australian bought just two pairs of Holeproof Heroes we could help save our wool industry and put this country back on its feet." "Made in Australia." "CARE INSTRUCTIONS. warm machine wash. Wash and dry inside out. Wash dark colours separately. Do not bleach. Warm tumble dry. Dry without delay. 60% Wool 40% Nylon." Separate sticker label- "HOLEPROOF HEROES. Summer Winter Wool."1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's brown leather shoe with a different coloured leather around the upper part of the shoe and laces. Only the right shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.A pair of cream coloured crew length socks in their packaging.On label - " Holeproof COTTON RICH 80% Cotton 20% Nylon covered Lycra" Care instructions on reverse.1992 barcelona olympics, sport, athletes, fashion, design, uniform

This photograph was taken in the Mount Pilot Chiltern National Park. This park is located near Chiltern in Victoria. It's most notable landmarks include Mt Pilot and Woolshed Falls. It also has many mines from the Gold Rush in the late 1800s. It is home to much flora and fauna, including the tiger quoll. The tiger quoll, also known as the spotted-tail quoll, is a marsupial that gives in the Mount Pilot Chiltern National Park. It is also main land Australia's largest carnivorous marsupial. It can weigh up too four kilograms and looks similar to either a possum or a spotted cat. It has red and brown fur with distinct spots. The tiger quoll is found along the Great Dividing Range, which includes Victoria, New South Wales and also near the border of Queensland. It lives in forests, rainforests and coastal heathlands and woodlands. In 2004 a team of volunteers from the Wooragee Landcare group as well as some of the Department of Sustainability and Environment staff set out to find the tiger quoll following the 2003 bushfires. Since the bushfires, concern had arisen for it because it hadn't been seen since the bushfires. They attempted to find traces of the quoll through finding and identifying their droppings as well as DNA testing. This photograph was taken during this search. This photograph represents the work that goes into protecting a important species like the tiger quoll. The tiger quoll is a significant species because it is main land Australia's largest carnivorous marsupial. As a result of this, there has been much work done to preserve and protect it. This photograph was taken when the Wooragee Landcare group went to ensure the survival of this species, highlighting how the tiger quoll is being protected. This photograph also demonstrates the impacts of the 2003 bushfires in the Mount Pilot Chiltern National Park. This is seen through the burnt trees featured in the picture. Landscape coloured photograph printed on gloss paperReverse: WAN NA 0ANA0N0 NNN 0 1636 / [PRINTED] (No.7) / 921quoll, mount pilot chiltern national park, national park, 2003 bushfires, search, endangered, beechworth, wooragee landcare group, wooragee landcare, wooragee, possum, australia, victoria, department of sustainability and environment, photograph, 2004, spotted-tailed quoll, great dividing range, spots, fur, forests, rainforests, woodlands, coastal heathlands, spotted quoll, spotted quoll habitat

Fine, soft silk, woven with a two mm spot, spaced at one cm all over the fabric.Above the wrist-length sleeves finished with a six cm wide black velvet cuff. Sleeves are gathered at the shoulder and the cuff. A 26cm long ''over -sleeve'' is gathered at the shoulder, and edged with two bands of black velvet-one of .8 of 1cm, and one 2cm wide. Bodice has a 6.5cm stand-up mandarin style collar, which is boned in three places. Three metal hooks, and embroidered eyelets fasten the collar - (2 damaged). The shoulder line has 12 pintucks, 20 cm long, and finishing to give fullness to the bustline. Six pintucks either side of back opening. Over the shoulders is a loose panel - 25cm wide at the shoulder, tapering to 7.5cm wide at the waistline - five bands of velvet taper from shoulder to waistline, emphasing a V shape, from shoulders to narrow waist. A 17cm deep panel of pintucking extends from shoulders at front and back. Six X 4cm deep tucks extend from the pintucks to the waistline.costume, female, victorian black silk and velvet bodice

SHARP DOWNPOUR. ONE INCH IN 45 MINUTES. SOUTHERN SUBURBS DELUGED. TRAIN STOPPED AT SOUTH YARRA. One of the sudden downpours of rain which occasionally fall in Melbourne occurred yesterday afternoon, when nearly an inch of rain fell in the course of three quarters of an hour, and caused a flood for an hour or two in certain localities. During the early part of the day, the sky had been clouded over, but there was nothing to indicate a storm of such intensity as that which followed. At about half-past 1 o'clock residents of South Yarra, South Melbourne, Prahran, and St. Kilda noticed a few drops of rain. Still, it appeared unlikely that there would be anything exceptional, until with startling suddenness at about 10 minutes to 1 o'clock, one of the heaviest downpours within the memory of residents burst upon those suburbs. A strange feature of the storm was that it was practically confined to an area of about three miles square. The city was but little affected, though at a spot as close as the Observatory 86 points of rain were recorded in three-quarters of an hour. Thunder and lightning accompanied the downpour, which was cyclonic in character, the rain driving heavily from all points of the compass as the cyclone passed. It was in South Yarra and Prahran that the rain fell heaviest. Within a few minutes after it commenced, the low-lying portions of Toorak-road and practically the whole length of Chapel-street were under water. The depression at the intersection of Toorak-road and Darling-street speedily filled to the dimensions of a small lake. Several shops were inundated, while the water from the higher levels rushed down like a mountain torrent, and in several in-stances swept through the rear of houses and shops, carrying furniture in a floating mass against the further walls. In one case a footbridge was carried bodily away and dashed to pieces. Darling-street itself Great Davis-street, and other low-lying and flat thoroughfares in the vicinity became flooded from kerb to kerb, while on the other side of the railway-bridge the valley between Kensington-road and River-street became filled for some minutes to a depth of several feet. Meanwhile the waters from South Yarra hill, seeking a lower level, found it in the railway cutting, and the excavations from South Yarra station to Prahran on the one line, and to the Chapel-street bridge on the other, were converted into a couple of canals. At the platforms at South Yarra the water was two feet deep on the permanent way, and towards Hawksburn, at the sudden depression under Chapel-street bridge, it was at one time deep enough to cover a tall man's head. Into this swirling mass of water the 1:50 p.m. train from Oakleigh plunged on its way to Melbourne. The impact caused a mighty fountain of water to rise to a height of about 20 feet above the level of Chapel-street and send clouds of spray in all directions. Under the belief that a terrible explosion had occurred residents braved the rain and rushed to the spot, only to find that the train had been brought to a stand-still in the middle of what seemed to be a river. The water was so high that it had entered the fire-box from below, extinguishing the fires and cutting off the steam supply. In the meantime the officials at the South Yarra station had been preparing for emergencies. Inspectors were on duty at intervals along the line, and the moment the alarm was given an extra engine was backed carefully down and continued on to connect with the stranded train without losing its own power. There was a delay of about ten minutes in the service for an hour or two, but by 5 o'clock all the trains were running on time again, and the water had run off all but the spot beneath the Chapel-street bridge. Here the water remained about four feet deep until nightfall, and throughout the afternoon several hundreds of people including biograph operators and photographers, were gathered around watching each train pass through. Even with the water two feet lower, this was a work attended with considerable difficulty. Each train had to absolutely force its way through the weight of water, almost enveloped by the spray thrown up, and it was only just able to negotiate the "ford" by using every ounce of steam. ... The Argus, 26 January 1907, p19.The item forms part of the Laurie Bennett collection of thirty-six postcards and photographs of Kew and early Melbourne, donated to the Kew Historical Society in 1980. The postcards in the Bennett collection, like other images in the Society's holdings date from the 1890s to the present and comprehensively indicate points-of-view or scenes considered historically, aesthetically or socially significant in the period in which they were produced.Postcard depicting a flood at South Yarra Station in 1907. The title and photographer's name are identified on the front of the postcard. Donated by L. Bennett, 1980flood - south yarra, trains - melbourne, postcards, r mcgeehan - prahran

This ledger was started in 1901 when ledgers and other bookkeeping methods were hand written and with nib or fountain pen application. The various ink spots on the pages of this ledger suggests that when the office worker scribed they used the nib and the owner used the fountain pen. It was not until the mid 1950s that ball point pens were discovered and used in rural areas. The owner of this rural general store was more interested in recording transactions, be it in ink or pencil than the aesthetics of a neat and tidy document. Even though in this era, the principle of neat and tidiness was instilled in workers, this was overlooked and fell away through the economics of employing one staff member to do a variety of tasks for which they may not have had the proper training. It was in the early 1900s that the rural areas such as the Kiewa Valley "had to do" with local employees who had basic training but knew their customers very well and were very respectful of age and the mores of the trading public. The respect by shop owners and staff towards their customers was greater in small rural townships and villages within the Kiewa Valley than in the larger towns and cities. Their was no rushing to get the groceries or to spend the least amount of time within the shop. The social interactions where mixed with commercial activities at a very personalised level of one on one. This closeness gave the customer the confidence that those in the commercial transactions in the shop, where looking after them. This ledger is very significant to the Kiewa Valley as it lists the personal transactions of local businesses, farmers, graziers and miners. Larger accounts and other businesses had one or more pages set aside for their transactions. The words are in large freehand (Capitals 5 mm high) possibly to be read by those with poorer eyesight. The relative long distance to travel for reading glasses or specialised optometrist was overcome by writing in larger fonts. The time taken to register produce or other consumables was not critical during the period when this ledger was in use because the local population was not at the critical level where the demand was not as intense as later on when periods of tourist influx became more demanding. The lay back and relaxed attitude of the local population during this period (early 1900s) was not intense and impersonal as within the larger city shopping and commercial environment. The ability of the shop keepers to interact with their customers not only in the commercial sense but also in a social atmosphere permitted the long hand scribbling of purchases without causing any offence.This item is a cloth and suede leather covered ledger.The spine is suede leather with a red stamped "LEDGER" title. The cover is covered with a dark blue cloth and shows a faded unrecognisable pattern. Each page has light blue lines running horizontal and 90 mm apart. Each page has, from the second line going horizontal two fine 1 mm apart red line. Each page is divided horizontally by single vertical line (except for the two double lines in the centre of the page). The first division separates the month from the day.Next to these lines is an area for the description of the item being purchased. Within the central double lines are vertical lines separating the type of tender paid, i.e., pounds, shillings and pence. The last section of the page has various comments, as required by the scribe.Each page is approximately 160 g/ms. The ledger has 698 pages drawn up on both sides and page numbers of 5 mm in height. 'On spine " LEDGER"commerce, book keeping, shop ledger, local history

Size of box is 6cm x 4cm In 1936, young Eric Child (1910-1995) met, and squired around London's jazz night-spots, Lucille Wilson a dancer in Lew Leslie's Blackbirds stage production at the Gaiety Theatre. Although Lucille knew a few famous bandleaders she, at that time, had never heard of Louis Armstrong, THE King of jazz, according to Eric. Later, in a letter to Eric in late 1942, Lucille wrote that she had met his King - and had become his fourth wife on 7th October 1942. She had finally worked with Louis at the new Cotton Club in Harlem in 1939 where she was in the chorus line using the stage name Brown Sugar. The long platonic friendship with Lucille remained and Eric and his wife Angela (1919-2001) welcomed her and the King in Brisbane on Louis' first visit to Australia in April 1956, and on all subsequent visits here. At a dinner at the Child's Sydney home Lucille presented Angela with one of Louis' famous stage handkerchiefs, signed by the All Stars, and a her own brooch and earrings, which Angela had quite innocently admired. Following Eric's death in 1995, Angela promised the Louis handkerchief to Bill Haesler and the brooch and earrings to Jess Haesler when she died. Rather than keeping these unique items private, the Haeslers donated them, in Angela's memory to the Victorian Jazz Archive. A unique momento of jazz great Louis his wife Lucille Armstrong,and his Australian friends Eric and Angela Child.Costume jewellery - Silver and cut glass brooch and ear ringslucille armstrong, angela child, ear rings, brooch

Dr Alan Holmes á Court enlisted in the Australian Army in 1916 as a medical officer with the rank of Captain. In 1918, Holmes á Court was promoted to Major and attached to the 4th Australian Field Ambulance on the Western Front. As the front advanced, the Casualty Clearing Stations became further removed from the battlefield, creating an urgent need for immediate resuscitation prior to transfer back to the CCS. In June 1918, Holmes a Court and his colleagues established a forward resuscitation team. The team consisted of one doctor trained in surgery, blood transfusion and resuscitation, another doctor trained in anaesthesia, resuscitation and blood classification, and four other assisting staff. This team moved out to the wounded, rather than waiting for them to be stretchered back. They provided on-the-spot, life-saving resuscitation. The wounded were then transported back to the Casualty Clearing Station or Regimental Aid Post for further treatment. Among the assorted surgical and resuscitation equipment carried by the forward resuscitation team, were a number of Kimpton-Brown flasks. Blood was collected from patients with minor injuries using the flask. It was then administered to those in need, after establishing their blood type. Citrated blood was introduced by the Americans in 1917. This allowed blood administration to be delayed for up to two hours but there were many problems with transport, storage and infection in these early experimental days.Round, clear glass bottle with white [discoloured] paper label, with red printed, and metal screw-top lid.Handwritten on white [discoloured] paper label: Phillip HARRIS Moulded into the top of the screw-top lid in red ink: RED CROSS BLOOD TRANSFUSION SERVICEblood transfusion, red cross, world war one

Geelong is famous for its bollards. Created by local artist Jan Mitchell, the colourful bollards spot the foreshore, representing a fascinating and fun chronicle of the city’s past. Few people know that Mitchell planned for a flock of sheep to be part of her public art project. The wool industry is an important part of Geelong’s history, so Mitchell thought what better than a flock of sheep to welcome people to the city. The flock (and a Shepard) were to be placed out on the Melbourne-Geelong highway, near Lara, to welcome travellers to the city. The sheep would then be scattered along the road as a wayfinding signal to bring people to Geelong. When traffic authorities heard the plan for bollard sheep along the road, they squashed the project as a potential distraction for drivers. Another flock was also suggested for the hills of the eastern gardens, overlooking the bay. This was also disapproved; so Mitchell only ever partially completed four sheep bollards. The bollards are remnants of Jan Mitchell’s flock of sheep. The sheep also show the evolution of one of Geelong’s most iconic art installations. From the first sheep showing the raw timber of the old Yarra Street pier, to the sheep without a face, through to the completed sheep, it is possible to trace Mitchell’s process in the preparation of the bollards. The lost bollards form part of the National Wool Museum’s unique collection. The first bollard is the least complete, still in its original timber colour. From the central cylindrical shape, an additional wedge protrudes. This unpainted wedge forms what would have been the face of the sheep, with an ear present on either side that would have been painted white. Presently they are a bare metal. No legs are present on this bollard. The second and third bollard are completed to a similar level. They have a central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms what would have been the face of the sheep, with an ear present on either side. The face and ears have been painted white but the finer details such as the eyes have not been added. These bollards bodies have also been painted white and have their legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. The fourth bollard Is complete. It has the same central cylindrical shape with an additional wedge protruding from the front of the timber. This wedge forms the completed face of the sheep, with an ear present on either side that has been painted white. The face also features completed painted eyes. This bollard has its legs attached. The legs are thin metal cylinders, approximately 50mm in diameter and 500mm long. geelong, bollards, geelong's bollards, jan mitchell

In 2000, three silver trophy spoons were donated to the Kew Historical Society by the National Trust (Victoria). At the time, the trophies were believed to have been awarded to J.S. Penrose for victories in events held by the Boroondara R.C. [Rifle Club] in 1905 and 1906. The Boroondara Rifle Club was a separate entity to the Kew and Hawthorn Rifle Clubs. The first reference to the Club on Trove is on 11 April 1900, when the Club was established and the committee elected. It is recorded that: “the adjourned meeting in connection with the Boroondara Rifle Club was held in the shire hall on Monday evening; Mr. A. J. Smith, J.P., in the chair. It was decided that the name of the club should be the Boroondara Rifle Club, and that it should embrace the whole shire, with butts at some convenient and accessible spot. A number of additional members were sworn in, making the total enrolled to date about 70. The following gentlemen were elected as office bearers: — President, Sir Frederick Sargood. M.L.C.: vice-presidents, Messrs. Wm. Knox, M.L.C.; F. Madden, M.L.A., and A. J. Smith (president of the shire); hon. captain, Mr. John Mc Whae (chairman of the Stock Exchange) ; committee. Messrs. T. W. Gaggin, J. B. Gilfillan, Cr. Lewis. Cr. Rooks and Cr. Beckett; hon. treasurer. Mr. G. A. Darling; hon. secretary, Mr. A. J. .Macarthur”.The last recorded meeting of the Rifle Club was in 1916, at “Adam’s Hall, upper Hawthorn” when a new committee was elected. Silver trophy spoon awarded to J.S. Penrose by the Boroondara Rifle Club for a victory in the Spoon Competition.Boroondara R.C. / Spoon Competition / 800, 900 yds /won by J.S. Penrose. Score 70 / 21-10-05boroondara rifle club, silver trophies

In 2000, three silver trophy spoons were donated to the Kew Historical Society by the National Trust (Victoria). At the time, the spoons were believed to have been awarded to J.S. Penrose for victories in events held by the Boroondara R.C. [Rifle Club] in 1905 and 1906. The Boroondara Rifle Club was a separate entity to the Kew and Hawthorn Rifle Clubs. The first reference to the Club on Trove is on 11 April 1900, when the Club was established and the committee elected. It is recorded that: “the adjourned meeting in connection with the Boroondara Rifle Club was held in the shire hall on Monday evening; Mr. A. J. Smith, J.P., in the chair. It was decided that the name of the club should be the Boroondara Rifle Club, and that it should embrace the whole shire, with butts at some convenient and accessible spot. A number of additional members were sworn in, making the total enrolled to date about 70. The following gentlemen were elected as office bearers: — President, Sir Frederick Sargood. M.L.C.: vice-presidents, Messrs. Wm. Knox, M.L.C.; F. Madden, M.L.A., and A. J. Smith (president of the shire); hon. captain, Mr. John McWhae (chairman of the Stock Exchange) ; committee. Messrs. T. W. Gaggin, J. B. Gilfillan, Cr. Lewis. Cr. Rooks and Cr. Beckett; hon. treasurer. Mr. G. A. Darling; hon. secretary, Mr. A. J. Macarthur”. The last recorded meeting of the Rifle Club was in 1916, at “Adam’s Hall, upper Hawthorn” when a new committee was elected. Engraved silver trophy spoon awarded to S.J Penrose by the Boroondara Rifle Club for a victory in the Spoon Competition of 1906Boroondara Rifle Club / Spoon Competition / 200, 300 yds / Won by S.J. Penrose / 11-2-06boroondara rifle club, j.s. penrose, sport, shooting, trophy, a. j. smith, frederick sargood, william knox, f. madden, a. j. smith, john mcwhae, t. w. gaggin, j. b. gilfillan, lewis, rooks, beckett; g. a. darling; a. j. macarthur

In 2000, three silver trophy spoons were donated to the Kew Historical Society by the national Trust (Victoria). At the time, the spoons were believed to have been awarded to J.S. Penrose for victories in events held by the Boroondara R.C. [Rifle Club] in 1905 and 1906. The Boroondara Rifle Club was a separate entity to the Kew and Hawthorn Rifle Clubs. The first reference to the Club on Trove is on 11 April 1900, when the Club was established and the committee elected. It is recorded that: “the adjourned meeting in connection with the Boroondara Rifle Club was held in the shire hall on Monday evening; Mr. A. J. Smith, J.P., in the chair. It was decided that the name of the club should be the Boroondara Rifle Club, and that it should embrace the whole shire, with butts at some convenient and accessible spot. A number of additional members were sworn in, making the total enrolled to date about 70. The following gentlemen were elected as office bearers: — President, Sir Frederick Sargood. M.L.C.: vice-presidents, Messrs. Wm. Knox, M.L.C.; F. Madden, M.L.A., and A. J. Smith (president of the shire); hon. captain, Mr. John Mc Whae (chairman of the Stock Exchange) ; committee. Messrs. T. W. Gaggin, J. B. Gilfillan, Cr. Lewis. Cr. Rooks and Cr. Beckett; hon. treasurer. Mr. G. A. Darling; hon. secretary, Mr. A. J. .Macarthur”. The last recorded meeting of the Rifle Club was in 1916, at “Adam’s Hall, upper Hawthorn” when a new committee was elected. Silver trophy awarded to J.S Penrose by the Boroondara Rifle Club for a victory in the Spoon Competition of 1906Boroondara R.C. / Spoon Competition / 500, 600 yds / Won by J.S. Penrose / 4-8-06sports trophies, boroondara rifle club, j s penrose

This photograph was taken on the Portico of the Soldiers Memeorial Institute Pall Mall Bendigo. The man in the photo is "William James Norman Smart" known by all as Norm. He was a legend in Bendigo RSL Appeals having raised near $250,000.00 over the years. His selling spot was Coles Central where he sat for up to a fortnight each Appeal, ANZAC and Poppy. He had a loyal clientele who only bought their tokens from Norm. On ANZAC day especially he would come into the kitchen at the Soldiers Memorial about 5.00am and sort his tray out while others there were making the Rum and Coffee. He would then go out and walk among the people before the Dawn Service selling tokens. Norm was still selling tokens after he turned 90 years. he retired from all Volunteer work in the Bendigo RSL in August 2015. Refer Cat No 8131.2P for Norms RSL history. Norm enlisted in the CMF on 5.11.1941 No V245294 in the 38th Battalion, the unit later moved to WA by train 30.3.1942, he transferred to the AIF No VX88596 on 31.7.1942, they entrained back to Vic on 19.1.1943, then entrained again to the NT 0n 18.6.1943, transfer to the AIF No VX88596 on 8.8.1944 in the 11th Aust Infantry Battalion, embark for New Britain 25.11.1944, embark from Rabaul for Aust on 8.1.1946, discharged from the AIF on 5.2.1946..1) Photograph, gold timber frame with photo in a black inset showing a man in a hat with a Tray of poppies for sale, he is wearing a name tag and a red poppy. .2) Funeral card of "W.J.N. Smart", double sided with a portrait one side and wedding photo the other.On the name tag, "RSL Welfare Appeals - RSL unpaid collector", name hand written, "Norm Smart"brsl, smirsl, photograph, appeals, norm

Bushfire perimeter rather than bushfire area is the main control problem for firefighters on the ground. A conundrum rapidly compounded by spot fires. A small 5 ha fire can be nearly 1 km around the perimeter. That's a long way to build a control line by hand in rough bush. Dry firefighting techniques by hand were mostly confined to “knocking down” or “beating out” the flames, as well as "digging out". Digging or raking a “mineral earth” trail down to bare dirt proved most effective in forest fuels which, unlike grass, tend to retain heat and smoulder. Early tools were whatever happened to be close at hand. They were simple and primitive and included shovels, slashers, axes, hoes, beaters and rakes. A cut branch to beat the flames was often the only thing available. Farming and logging tools, developed over centuries of manual labour, and readily available at local hardware stores came into use, but little thought was given to size, weight, and balance. This leather beater was based on a century-old stockman's design which used green cow hide leather lashed to a broom handle. It's recommend that users lift no more than above knee height to conserve energy and let the beater to the work. For years foresters experimented with combination tools. In about 1952 fire beaters and other implements were being replaced with Rakuts and later RakehoesEarly firefighting toolBushfire beater - Leather with wooden handlebushfire, forests commission victoria (fcv)

Welcome Stranger Centenary, Moliagul, Victoria, Australia 1869 1969. Replica of 'Welcome Stranger' Nugget, discovered at Bulldog Gully, Moligaul, on February 5, 1869, by John Deason and Richard Oates. History of gold nuggets in Australia in particular the 'Welcome Stranger.' 7 black and white photos. 1st photo is a group taken on site where the 'Welcome Stranger' nugget was discovered at Bulldog Gully, Moliagul, in February, 1869. John Deason is shown holding the shovel, and Richard Oates has the pick. Mrs Deason is seated on the ground. The gross weight of the nugget was 2,520 ounces. The nugget sold for 9,553 pounds and was 98.66 per cent pure gold. Henry Lawson's description of a goldfield would have been typical of Moliagul during the hectic goldrush days a century ago:- ''The yellow mounds of bullock With the spots of red and white, The scattered quartz that glistened Like diamonds in light; The azure line of ridges, The bush of darkest green, The little homes of calico That dotted all the scene.'' This booklet was prepared by Ronald L Carless, of Moliagul, Via Dunolly, and is dedicated to the gold miners who pioneered the Mount Moliagul goldfield.event, back to, welcome stranger centenary, welcome stranger centenary, victoria, australia 1869 1969. discovered at bulldog gully, moligaul, 5, 1869, john deason richard oates. gold nuggets in australia' black and white photos. mrs deason. gross weight of the nugget was 2, 520 ounces. the nugget sold for 9, 553 pounds 98.66 per cent pure gold. henry lawson's:- ''the yellow mounds of bullock with the spots of red and white

An envelope of 12 colour photographs of attractions in and around Marysville in Victoria.An envelope of 12 colour photographs of attractions in and around Marysville in Victoria. These photographs were produced by Nucolorvue Productions in Mentone, Victoria.A Souvenir of Beautiful MARYSVILLE 12 Specially Selected Views in Full Colour Marysville, Victoria, Australia Marysville, 60 miles from Melbourne, is one of nature's/ lovely beauty spots. The invigorating mountain air helps the/ visitor to enjoy the many delightful walks amongst the tall/ timber, or through the fern glades. Apart from many excellent walking trips, Marysville district/ offers ample scope for car trips to the nearby Cumberland Forest,/ Buxton, Narbethong, or the Taggerty Valley. Skiers find Lake Mountain an attraction in the winter, whilst/ the hiker finds ample for his needs in the numerous mountain/ areas. Huge Eucalypt trees, revealing their ramrod straightness up/ to 300 feet in height, are a fitting background to the many/ beautiful creeks and waterfalls. PUBLISHED BY NUCOLORVUE PRODUCTIONS, MENTONE, VICTORIA.nicholl's lookout (image 1), eildon weir (image 2), road to lake mountain (image 3), foot of steavenson falls (image 4), steavenson falls (image 5), bush scene near marysville (image 6), bush track marysville (image 7), bridge and chalet and crossways marysville (image 8), log cabin at marysville (image 9), black spur (image 10), taggerty river (image 11), highest known hardwood tree (image 12), marysville, victoria, nucolorvue productions, postcard, souvenir

An envelope of 12 colour photographs of attractions in and around Marysville in Victoria.An envelope of 12 colour photographs of attractions in and around Marysville in Victoria. These photographs were produced by Nucolorvue Productions in Mentone, Victoria.A Souvenir of Beautiful MARYSVILLE 12 Specially Selected Views in Full Colour Marysville, Victoria, Australia Marysville, 60 miles from Melbourne, is one of nature's/ lovely beauty spots. The invigorating mountain air helps the/ visitor to enjoy the many delightful walks amongst the tall/ timber, or through the fern glades. Apart from many excellent walking trips, Marysville district/ offers ample scope for car trips to the nearby Cumberland Forest,/ Buxton, Narbethong, or the Taggerty Valley. Skiers find Lake Mountain an attraction in the winter, whilst/ the hiker finds ample for his needs in the numerous mountain/ areas. Huge Eucalypt trees, revealing their ramrod straightness up/ to 300 feet in height, are a fitting background to the many/ beautiful creeks and waterfalls. PUBLISHED BY NUCOLORVUE PRODUCTIONS, MENTONE, VICTORIA.nicholl's lookout (image 1), eildon weir (image 2), road to lake mountain (image 3), foot of steavenson falls (image 4), steavenson falls (image 5), bush scene near marysville (image 6), bush track marysville (image 7), bridge and chalet and crossways marysville (image 8), log cabin at marysville (image 9), black spur (image 10), taggerty river (image 11), highest known hardwood tree (image 12), marysville, victoria, nucolorvue productions, postcard, souvenir

An envelope of 12 colour photographs of attractions in and around Marysville in Victoria.An envelope of 12 colour photographs of attractions in and around Marysville in Victoria. These photographs were produced by Nucolorvue Productions in Mentone, Victoria.A Souvenir of Beautiful MARYSVILLE 12 Specially Selected Views in Full Colour Marysville, Victoria, Australia Marysville, 60 miles from Melbourne, is one of nature's/ lovely beauty spots. The invigorating mountain air helps the/ visitor to enjoy the many delightful walks amongst the tall/ timber, or through the fern glades. Apart from many excellent walking trips, Marysville district/ offers ample scope for car trips to the nearby Cumberland Forest,/ Buxton, Narbethong, or the Taggerty Valley. Skiers find Lake Mountain an attraction in the winter, whilst/ the hiker finds ample for his needs in the numerous mountain/ areas. Huge Eucalypt trees, revealing their ramrod straightness up/ to 300 feet in height, are a fitting background to the many/ beautiful creeks and waterfalls. PUBLISHED BY NUCOLORVUE PRODUCTIONS, MENTONE, VICTORIA.nicholl's lookout (image 1), eildon weir (image 2), road to lake mountain (image 3), foot of steavenson falls (image 4), steavenson falls (image 5), bush scene near marysville (image 6), bush track marysville (image 7), bridge and chalet and crossways marysville (image 8), log cabin at marysville (image 9), black spur (image 10), taggerty river (image 11), highest known hardwood tree (image 12), marysville, victoria, nucolorvue productions, postcard, souvenir

An envelope of 12 colour photographs of attractions in and around Marysville in Victoria.An envelope of 12 colour photographs of attractions in and around Marysville in Victoria. These photographs were produced by Nucolorvue Productions in Mentone, Victoria.A Souvenir of Beautiful MARYSVILLE 12 Specially Selected Views in Full Colour Marysville, Victoria, Australia Marysville, 60 miles from Melbourne, is one of nature's/ lovely beauty spots. The invigorating mountain air helps the/ visitor to enjoy the many delightful walks amongst the tall/ timber, or through the fern glades. Apart from many excellent walking trips, Marysville district/ offers ample scope for car trips to the nearby Cumberland Forest,/ Buxton, Narbethong, or the Taggerty Valley. Skiers find Lake Mountain an attraction in the winter, whilst/ the hiker finds ample for his needs in the numerous mountain/ areas. Huge Eucalypt trees, revealing their ramrod straightness up/ to 300 feet in height, are a fitting background to the many/ beautiful creeks and waterfalls. PUBLISHED BY NUCOLORVUE PRODUCTIONS, MENTONE, VICTORIA.nicholl's lookout (image 1), eildon weir (image 2), road to lake mountain (image 3), foot of steavenson falls (image 4), steavenson falls (image 5), bush scene near marysville (image 6), bush track marysville (image 7), bridge and chalet and crossways marysville (image 8), log cabin at marysville (image 9), black spur (image 10), taggerty river (image 11), highest known hardwood tree (image 12), marysville, victoria, nucolorvue productions, postcard, souvenir

HistoricA sandstone plinth with tablet commemorating the Eureka Stockade Rebellion of December 3, 1854 including the names of diggers and soldiers whom fought and fell in battle, surrounded by a bluestone border. Set on a larger platform surrounded by four cannons and bluestone edge. Set in parkland with entry gateway at Eureka Street, Ballarat.Eureka Stockade Sunday Morning December 3rd 1854. This tablet was created by the Eureka Improvement Committee 1923. To honour the memory of the Heroic Pioneers who fought and fell, on this Sacred spot, in the cause of liberty. And the Soldiers who fell at Duty's call. Diggers: W. Emmerman, J. Diamond, T. O'Neill, J. Donaghey, W. Clifton, E. Quin, W. Quinlan, J. Hafele, J. Crowe, T. Moore, J. Brown, Lieut. Ross, J. Robertson, Fenton, E. McGlyn, J. Haynes, P. Gittins, T. Mullins, S. Green, R. Julien, E. Thonen, J. Hassle. Soldiers: Capt. H.C. Wise, Ptes. W. Webb, M. Roney, J. Wall, F. Boyle, J. Hall.eureka

Eric Holloway began spot milling timber at age of 17. He borrowed fifty pound from an uncle in 1934 to purchase a McCormick Deering tractor and saw bench. He went from farm to farm cutting timber for farmers. For a time, he worked on Shelley Station spot milling with WS Walker and Son. In approximately 1946 Arthur and Eric Holloway established a saw mill at Shelley. Another brother Ernie, a builder and returned soldier, worked with them from time to time. Using timber sawn in the mill he built eight basic houses for the mill workers. The brothers employed many migrants: - Yugoslav, Czechs, Russians, Ukrainians, Serbs as well as other hardworking people. This meant there were families, so Ernie also built and furnished a school at Shelley. Application was made for a teacher from the Education Department. At the Shelley mill the workers used ex-army blitzes, GM trucks (for carting logs) army ducks and a centurion tank for parts. The timber from the mill was trucked to Albury and Wodonga, customers being FA Stowe and Mates Timber. The army was also a big customer with Holloways supplying timber for the army huts that were built at Bandiana. A timber mill that had been built at Tallangatta by State Rivers and Water for the purpose of establishing New Tallangatta, was purchased by Holloway Brothers as an extension of their Shelley operation. In 1954 a new mill was built at Granite Flat on the Omeo Highway and the Shelley operation closed. Ernie Holloway was involved in the building of the mill and accommodation houses in Mitta Mitta. The mill workers travelled from Mitta to work each day. Holloways Building Supplies was established at 49 Tallangatta Rd Wodonga at this time. It was established on four house blocks with a little shed, with more land being acquired as the operation expanded. The brothers realized that it would be more profitable to set up their own timber outlet to supply their customers. Arthur Holloway continued to run the sawmills while Eric Holloway concentrated on the Wodonga business. A hardware store, offices and joinery were built as demand continued for building materials. All the timber arriving in the yard from the mill was hand sorted, providing employment for many. With the milling and timber outlets Holloways provided employment for approximately forty staff. The next generation of the Holloway family became involved. A Hyster forklift was purchased which allowed for bulk handling of the timber. Land was purchased in Sanyo Drive where timber was cleated and dried. Select grade timber, F17 dry framing, builders hardware and tools were sold. Holloways endeavoured to be a one stop shop for framing and fitting out of houses. In 1989 the business was sold to Mt Beauty Timbers who later on sold to Dahlsens. The timber mill was decommissioned. The Holloway family retained the ownership of the premises of 49 Thomas Mitchell Drive leasing to Dahlsens until that operation was moved to Albury in 2013. In 2014 the lease land was sold to two local businesses. Leigh Martin Marine purchased the parcel of land adjoining their business. Lester and Son purchased the remaining block and demolished the premises. A funeral parlour was built on that site.These photos are significant because they document the story of an important Wodonga business.A series of coloured photographs depicting aspects of Holloways Building Supplies business in Wodonga.holloways wodonga, wodonga businesses, timber industry

Eastern bluebirds are well-known song birds that live in eastern North America. They are sexually dimorphic, easily recognised by the male's bright royal blue upper plumage, chest of reddish brown and white abdomen. The females is duller in colour than the male, with greyer upperparts and blue tinges to her wings. These Bluebirds, the European variety, are the most common of the three Bluebird species. When not nesting, these birds fly in small flocks around the countryside. Bluebirds feed on small insects including moths, termites and mosquitoes. They also eat grasshoppers, crickets and caterpillars. The Bluebird can spot caterpillars and other insects in tall grass from a distance of over 45 meters. The Bluebird is commonly identified in numerous cultures as being symbolic as a harbinger of happiness. Often in Russian fairytales, the Bluebird is used as a symbol of hope. 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 female bluebird (likely Eastern) has a medium brown head and back, a rufous breast, and a cream belly. The bird has blue-tinged wing and tail feathers. The bill is short and has been stylized with the bill partly open to provide the illusion that the bird is making a call. This specimen stands upon a wooden mount and has an identification tag tied around its leg. The bird's plumage has faded since it was first preserved; females generally have duller colouring than their male counterparts but the colour of this particular specimen is paler than it would have been.Label: 122a. Blue-Bird / Catalogue Page 29. / Metal tag: 107taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, american birds, bluebird

These five photographs were most likely taken in the 1970s in Lithographic Squadron at the Army Survey Regiment, Fortuna, Bendigo. Photos .1P to .3P are annotated with the name of the technicians written on the back. Although Photo .4P is not annotated the technician is positively identified. In these five photos the technician is applying a UV-sensitive pigmented dye emulating one of the print colours to a white opaque polyester sheet mounted on a rotating table in a whirler. The coated sheet was dried before placement in a vacuum light frame beneath a stud registered map negative. They were then exposed to a carbon arc lamp. If there was more than one negative – typical for a type impression or 1st proof, the process was repeated for the other negatives of that print colour. There was a single exposure for composite negatives which was typical for the 2nd and final proof - the pre-press proof. The sheet was removed and washed with water and dried leaving the exposed colour impression. The technician repeated this process using process or spot dyes for remaining publication colours. Type impressions were a combination of the map grid and the topographic features in their correct print colours, forming a base for the cartographer to accurately position map names and symbols on a clear film overlay. The pre-press proof was a cost-effective way of producing a one-off visual copy of the map or chart product. It enabled cartographers to perform a quality inspection and correct any faults before publication. The pre-press proof was deemed authoritative before its release to Print Troop for bulk printing and distribution.This is a set of photographs of lithographic technicians preparing map proofs at the Army Survey Regiment, Bendigo c1960s c1970s. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, black & white, c1970s, SGT Graham Jeffers, Lithographic Squadron .2) - Photo, black & white, c1970s, SGT Ken Slater Lithographic Squadron .3) - Photo, black & white, c1970s, Ian ‘Loft’ Turner, Lithographic Squadron .4) - Photo, black & white, c1970s, Gary Kerr, Lithographic Squadron .5) - Photo, black & white, c1960s, unidentified, Lithographic Squadron.1 to .3 – personnel names (less rank) annotated on back. .4 to .5P – no annotationroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho