About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 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 TD 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.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 56. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Retains original swing tag.Labels: Akubra / 56 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 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 TD 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.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 59. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Labels: Akubra / 59 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. This Suit Jacket was tailored from fabric designed by Nino while he was working at the Foster Valley Mill. Nino developed a Mastercard such as w8043, which was sent to a mill in order to produce bolts of the desired fabrics w8044. These fabrics were then given to tailors where the final product was produced, such as this Suit Jacket.Single breasted suit jack with two buttons and notched lapel. Jacket is predominantly grey with black buttons and a silver silk interior lining. Four darker grey vertical and horizontal lines make up the design of the fabric on the exterior of the suit jacket. suit jacket, weaved, tailored

This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Two stoneware clay with crystalline glaze forms with relief pattern on surface made from fabric impression.art, artwork, corolee asker, ceramics

Standard dress uniform jacket for soldiers.Khaki coloured single breasted jacket fastened with four centre plastic buttons and a belt. Belt attached to jacket on back via two leather loops buttoned around a fabric loop. Jacket carries two breast pockets on exterior with flap, each fastened with single plastic button and two metal press studs. Two hip pockets with flaps, unfastened. Interior is lined with synthetic fabric; one interior chest pocket on the left hand side underneath which is a manufacturers label (transcribed below). Small square paper tag sewn into left jacket interior (transcribed below).Interior label reads "E.W. P/LTD./SOUTH AUSTRALIA/1968/[broad arrow symbol]/SIZE 36 SHORT/CLASS 8406/66-019-8479/ARMY No./NAME/DRY CLEAN ONLY./REPRESS USING IRON AND DAMP CLOTH OR MEDIUM TO HOT STEAM IRON./CREASE UPPER HALF OF LAPELS ONLY." Written on the label is handwritten text "J.V." And "12/0L/0/67." Stamped in purple ink "BATCH No./385." Paper tag reads "62000/LOT 12 36S/GLOBE6/67."military, uniform, vietnam war, 1960s, dress uniform, beechworth, returned services league

Issued as a uniform item post WWII until the late 1980s. It was also used parade dress until its replacement of a newly designed uniform made of polyester. This particular sample belonged to CPL K. Howe 3144504 whist in the Army Reserves 1982 to 2005The khaki battledress was standard uniform issued post world war two and used until the introduction of the polyester uniform in the late 1980s. This uniform belonged to CPL K. Howe, the donor providing good provenance. In conjunction with other items of militaria donated by the Howe family. Item can be to tell a story of multi generations of military service of the Howe familySingle breasted hip-height jacket in khaki fabric, fastened with five buttons down the centre of the chest. Two pleated breast pockets with triangular flaps fastened with two buttons. All buttons plastic and khaki green in colour. Jacket is fastened around the hips with a belt, attached on left hand side and buckled in a rectangular metal buckle on right hand side. Both left and right sleeves bear two patches, a double chevron and red rectangular patch rounded to follow the seam of the shoulder, with embroidered text. Navy lanyard looped around right shoulder, held in place by epaulet and tucked into right side pocket. Red patch reads "ROYAL AUSTRALIAN ENGINEERS" Internal left chest label reads "A.G.C.F./VIC. 1981/[broad arrow symbol]/6405.66.025.6408/SIZE OF CHEST/SIZE 99-102R/MACQUARIE 80/BATCH J/DRY CLEAN ONLY/CREASE UPPER/HALF OF/LAPELS ONLY/No. 3144504 [handwritten]/NAME/CPL K. HOWE [handwritten]"jacket, battledress jacket, battledress jacket khaki, royal engineers

This lanyard attaches under the right shoulder epoulette of a jacket issued as a Royal Australian Engineers uniform item post WWII until the late 1980s. It was also used parade dress until its replacement of a newly designed uniform made of polyester. This particular sample belonged to CPL K. Howe 3144504 whist in the Army Reserves 1982 to 2005The khaki battledress was a standard uniform issued post world war two and used until the introduction of the polyester uniform in the late 1980s. This lanyard is a component of a uniform belonging to CPL K. Howe, the donor provided good provenance, in conjunction with other items of militaria donated by the Howe family. The Uniform can tell a story of multi generations of military service of the Howe familyA length of thick, navy blue, cylindrically shaped fabric. Knotted in two locations to create two loops at either end. One loop is 270mm long when outstretched and the other is 82mm long when outstretched.royal engineers, battledress jacket, battledress jacket khaki, lanyard, royal australian engineers

This flying suit would have been worn by a pilot of the Royal Australian Air Force. It is a drill suit and most likely was not used in active service. This flying suit dates to 1988. It is no longer manufactured and is an historically significant article of military clothing. It is also in good condition.Olive drab coloured overalls. Full length sleeves and full length legs. Two pockets on the front of each leg. One zip at the front of each leg with extra fabric in the interior for fabric width enhancement. One access zip on each hip. Two diagonal breast pockets, either side of chest. One small pocket on each arm. All pockets are fastened with metallic brass colour zips. Another pocket on the left upper arm with stitched sections for storing pens. A silver coloured metallic pen holder is clipped and stitched into this section. One epaulet on each shoulder, each fastened with a brass coloured metallic stud. Regular shirt collar. One long zip at the front from the groin to the collar. This has two zip handles, each with a thin piece of leather attached to aid zipping. A patch with inscriptions machine stitched to nape of neck interior. Three brass coloured metallic studs, with a small piece of size adjustment fabric (and the clipping stud attached to this) on each sleeve. Three brass coloured metallic studs, with a small piece of size adjustment fabric (and the clipping stud attached to this) on each side of the waist. One rectangular leather clip attached to the upper right leg pocket. Patch stitched to nape of neck interior has the following inscriptions: A.G.C.F. VIC 1988 (symbol of broad arrow) SIZE.3 8415.66.013.1557 NO NAMEflying suit, royal australian air force

This gas mask dates to 1942 in the Second World War. This mask is representative of a style of gas mask that was widely distributed during the Second World War, and can be found in other Australian collections. Rubberised face mask with two circular plastic windows with metal rim for sight by wearer. The mask is fitted by six black elastic straps with red and yellow stripes, which are attached via metal buckles at six points at the top, middle and bottom of the face. Straps converge on rubber backed fabric cross-shaped component which is stamped. Over mouth area is a filter comprised of several layers of metal sheeting with holes. At chin, a metal fitting fits into a black rubber concertina tube which fits into the top of a rounded rectangular container with ribbed edges. Both attachment points have what appears to be adhesive fabric tape wrapped around the closure, possibly to make the system air tight.On cross-shaped component, "No 410/22-12-42" Stamped on mask, "O.T.R.C/6/42", "NORMAL" Filter mask stamped with, "EBRO/1942", "No 4/G.P. 1942" Canister stamped with "WILLOW/[broad arrow]/ML42(?)3/GS174". On canister base "No4A/WILLOW/1942/257/EVI" gas mask, breathing apparatus, chemical warfare, second world war, world war ii, world war 2

This mask would have presumably been manufactred and used as a gas mask during World War One conflicts. It is presumably British made. It could also possibly date to the World War Two era.This item is a piece of protective equipment which presumably dates to the World War One era. As a surviving artefact from the Great War, this item holds historic value.Gas mask with rubberised light brown fabric face cover, plastic goggles for seeing, straps for fastening and a nozzle to attach to a canister. The canister is now missing. The goggles have corroded steel rings around themwhich protrude sloghtly from the mask. The light brown fabric covered rubber nozzle is attached to a black metallic component, which is attached to the mask with a circle of black rubber in between the metal and the mask. There is also another short piece of rubber attached to this black metallic component which is folded and positined between the nozzle and the mask. There is an inscription On the exterior of the mask, where the nose would ordinarilly be positioned. There is also an inscription in the interior on an almost full circular piece of fabric which is stitched into the same posion. This has a circle of metal stitched beneath it, which protrudes in two sections towards the wearers face. On the ends of the protruded sections are square pads of fabric, which are presumably there to position on either side of the wearers nose. The mask has a reinforces rubberised fabric rim where it would be incontact with the face. The main rubber nozzle protrudes through the inside of the mask, forming a mouth piece. There are four black straps and one light brown colour strap stitched to the exterior rim of the mask. Two of the black straps are severed.On the exterior at the nose: 3 On the interior at the nose: 22 109gas mask, mask, world war one, first world war, world war 1, ww1, wwi, the great war

Field notebook holders were not part of kit issue. This holder would have been purchased at a military store for the purpose of carrying personal documentation on the person. Major Damien Batty served in Afghanistan in 2011-2012 with the Bravo Commando Company Group, 2nd Commando Regiment in Uruzgan. The Commandos took part in 20 rotations with the Special Operations Task Group (SOTG) between 2007 and 2012. During this time they undertook significant combat operations, and were awarded for its actions, the regiment was collectively awarded the Unit Citation for Gallantry and the Meritorious Unit Citation.Field notebook holder in Disruptive Pattern Camouflage Uniform (DPCU) fabric with three compartments belonging to Major Damien Batty whilst serving with the United Nations in Afghanistan. On the front right side of the top compartment, there is an embroidered Tasmanian Tiger. The top compartment opens to two compartments that contain various identification documents, 0096.2-14. field notebook holder, holder, disruptive pattern camouflage uniform, tasmanian tiger

This item was worn by Maj Damien Batty whilst on UN peacekeeping in BougainvillePolyester cotton brassard in Disruptive Pattern Camouflage Pattern (DPCU Rabbit pattern) Fabric. Sewn on the main body of the brassard are two patches, the first patch represents the United Nations featuring the United Nations symbol, the second is a square patch of the Australian flag. The brassard is secured to the sleeve by a slit in the top through which the shoulder strap is threaded and a velcro straps wraps around the arm. United Nations Patch - UNITED NATIONS / NATIONS UNITES Australian Flag - AUSTRALIAbrassard, united nations, australian flag, dpcu

Also known as a epaulette Two Royal Australian Navy rank insignia slides in Disruptive Pattern Camouflage Uniform (DPCU) fabric with black embroidery. Black embroidery text: AUSTRALIA / Black embroidery illustration: Navy emblem and the English Crown rank insignia slides, epaulette, royal australian navy, duff

Dark green fabric covered novel, Mother's Little Girl by Ethel Turner (Mrs H.R. Curlewis) and illustrated by A.J. Johnson, with gold lettering on front cover for title and author with a gold illustration of two children sitting on a bank. Spine has gold title and author and floral pattern. Has black and white illustrations throughout.fictionAn Australian story of a family that has too many children and not enough money, so gave up for adoption their last baby, Sylvia to its aunt. young people's fiction, australian fiction, family life

an orange fabric covered hardcover book with the title - A Handbook of English for Junior and Intermediate Pupils in Victorian Secondary Schools, in black lettering at the top with horizontal black bands around the title. The Whitcombe and Tombs publisher symbol is at the bottom in black. Some damage to the covers and Lance Sebire is written in pencil at the top. There is an Analysis Table of Sentences on p.211. The back cover shows titles of two more books by the publisher Whitcombe and Tombs. 227p.non-fictionThis handbook of English is composed of: 1. Composition 2. The Approach to Poetry 3. Grammarhandbooks, textbooks, schools

Brown fabric hardcover book - Eveline's Key-Note by Edith C. Kenyon has an illustration in black. pink and green of two young women sitting on a garden seat with a girl lying on the grass next to them reading. In the background a couple are chatting. The top of the edges of the pages are gold. The Endeavour Library is written at the top in black lettering with the title in yellow underneath. The spine has the title, series and publisher initials at the bottom for The Sunday School Union, The frontispiece has a black and white illustration the same as is on the front cover. and there are five full page black and white illustrations throughout. The chapter heads have an Illuminated style decoration called a vignette. 192p.fictionVictorian fiction with a moral slant for young women about life, growing up and relationships in an English village. family life fiction, religious stories

These caps were donated by Blake Thompson who with his wife started skiing at Falls Creek in 1979 and were members of Aurora Lodge for many years. They wore these hats at Falls Creek and Cedarwood Lodge which had a bar in the 1990s and was seen as “the place to go.” Cedarwood was built about 1979 by Peter Hyndman. It was a large lodge with over 100 beds. Like many lodges it has now been renovated to become studio and self-contained apartments.These caps are significant because they are representative of the range of memorabilia available at Falls Creek.Two souvenir caps from Falls Creek and Cedarwood Lodge. The Falls Creek Cap is made from green tartan fabric with a green suede peak and the Falls Creek logo. The Cedarwood Lodge cap is made from blue corduroy fabric and features the multi-coloured Cedarwood Lodge logoCap1 - Below logo - FALLS CREEK Cap 2 - Cedar Wood LODGE / FALLS CREEK / AUSTRALIAfalls creek memorabilia, cedarwood lodge

Uniform equipment worn by officers Khaki officers peaked cap with brown strap. One button on right side. Button on left is missing. Two small holes in front where hat badge has been removed, The fabric is slightly darker behid where the rising sun badge had previously been located. Inside the cap has a brown leather sweat band with the letters R R stamped into the right side. the top of the cap is padded RR Wardrop's of Melbourne, Collingwood & Geelong for all mens wear 5/6 rvr, uniform, hat

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Canestoga Wagon replicates the vehicle that enjoyed respect from the public during the 1880's. A model of a long covered Conestoga Wagon with two horses, brown and tan. The cream fabric covers curved shaped metal bands and is laced with string around the base to attach it to the wagon.It has a green base, green wooden seat and footrest. There are two wooden barrels attached by wire on one side and the other side has a luggage box. It has two small gold painted spoked wheels with painted black tyres at the front and two larger ones at the back. The forerunner of the Conestoga Wagon had its origin in Europe as a mobile home for shepherds and nomads in the early 1800's. The east coast of America became home to people from all over Western Europe so the old wagon designs were carried to the New World. The wagons were named after a river in Lancaster County Pennsylvania where the Stutz family built them for the western treks of history. Fondly known as the 'Prairie Schooner', the cost in 1840 was $48.00, unpainted spare wheels $8.00, Lawson axles $12.00. They came in 12 and 14 feet beds.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, drays

A vintage 1950's hardcover children's book with the title Bonzo's Annual printed at the top in green lettering on the front cover.There is a large coloured illustration of the dog Bonzo riding on a rocket above the town rooftops with a smiling full moon in the sky. It is bound on the left side with faded grey fabric tape. The back cover is plain grey coloured.The frontispiece illustration shows Bonzo on a swing attached by ropes to a giraffe's long neck with a monkey and two toucan birds looking on. The illustration is from the story 'Bonzo's Festival. The title page has the title, author, illustrator, publisher details and a coloured illustration of Bonzo as an artist at his easel. Pp. 92.fictionA vintage 1950's collection of Bonzo the dog stories for children with two tone coloured illustrations throughout the book. Bonzo has a lot of fun adventures. These Bonzo annuals were popular from 1935. They ceased publication during the war years and resumed afterwards.children's books, books, children's stories, dog stories, annuals

Many women in Australia sewed at home and Madame Weigel's patterns spanned nine decades, closing down in 1969. Simplicity and Butterick patterns are still made today. Simplicity was founded in 1927 in New York, Butterick is the oldest pattern company in the world, founded in 1863. One source states that Ebenezer Butterick is credited with creating the first multi-size sewing patterns in 1892. It is now been purchased by another company.15 Assorted dressmaking patterns: 11 from the 1960's and 70's, 3 vintage - Simplicity, Butterick, Style and Madame Weigel. One is a J & L Stretch Fabric Multi-Sized Family Pattern. The patterns are presented in paper packets with coloured pictures on the front depicting the items which can be made. Inside are tissue paper patterns with paper instructions. Pattern No 9196 has a yellow and white checked piece of material pinned to the front as a possible sample of the material used. The three vintage ones are Madame Weigel patterns, two for women and a child's one. All packets are worn through use and damaged.'Simplicity, Butterick, Style, Madame Weigel and J & l Stretch Fabric' patterns are printed at the top of the relevant patterns with appropriate illustrations of what can be made.sewing, sewing patterns, sewing equipment

A faded and damaged black fabric covered Methodist Hymn Book for Use in Australasia and New Zealand. The title is stamped into the top of the front cover and spine. The front endpapers are stained. At the back of the book there is the Australasian and New Zealand Supplement an Index of First Lines alphabetically arranged, an Index to the First Line of Every Verse, Except the First, in Each Hymn and an Index of Authors. At the front there are two Prefaces, Acknowledgements and Contents pages. Pp. 472.non-fictionMethodism was born in song. This Methodist Hymn_ Book is a collection of hymns that is not too large or expensive. It has the words for all the hymns included. It is an Australasia and New Zealand Edition specially prepared for and copyrighted in the Australian Commonwealth and New Zealand.religious books, hymns, churches

Cloth belt to fit under horses belly to connect with upper harness to hold all firm Ca 1900Manufactured by Holden and Frost C1900Cloth girth belt with two metal buckles on each end to attatch to harness for pulling jinker or drayequine, girth, fabric

Each of the five telephones is attached to a timber, wall‐mounted box. They are original to the precinct buildings and date from the early twentieth century. Located in the lighthouse lantern room, the former head keeper’s quarters, the former assistants’ quarters, and the buildings known today as the generator shed and the café, they formed an intercom system that facilitated communication between the lightstation buildings.Wall‐mounted Bakelite telephones with crank handles can be found at all six light stations, however Gabo Island has the only other example of a timber‐mounted phone. Its design is slightly different for incorporating an inclined surface for jotting down notes. As fixtures, the telephones are considered to be part of the building fabric and included in the Victorian Heritage Register listing for the Cape Nelson Lightstation (H1773; 18 February 1999). They are historically significant for their historical and technical values as part of the early communications system used at the lightstation.Five similar intercom system telephones. All are wall mounted timber boxes with Bakelite black hand sets and black cords. The five phones each have two bells at the top of the box and a crank handle at the side. Three phones have brass bells, two have black metal bells. All phones have instructions on the front either in a frame or glued to the timber."C of A" and "PMG" Written instructions on how to use the phones are printed on paper fixed to the front of the telephones. "TO CALL ....../ TO ANSWER...../ WHEN FINISHED....."

It has been restored by lightstation staff in 2002. The phone has a fixed mouth piece and is attached to the lantern room wall on a timber box mount. Dating from the early twentieth century, it is the earliest of four telephones at the lightstation and the sole box-mounted model, and is also the only telephone in the lighthouse. It has a crank handle, a separate black hand piece and an inclined horizontal shelf for jotting down notes. The four telephones provided an intercom system that facilitated communication between the lightstation buildings. Four other wall-mounted phones remain at the Cape Nelson Lightstation but unlike the Gabo Island example they do not provide a rest for jotting down notes. As a fixture, the telephone is part of the building fabric and is included in the existing Victorian Heritage Register extent of registration for the Gabo Island Lightstation (H1773). As a fixture, the telephone is part of the building fabric and is included in the existing Victorian Heritage Register extent of registration for the Gabo Island Lightstation (H1773). It is significant for its historic value and provenance, and relative uniqueness in a Victorian lighthouse.Telephone, wall-mounted in a wooden surround. Black crank handle on right-hand side. Separate black hand piece on left-hand side attached to main body by a fabric covered cord. The mouthpiece is fixed to the front of the telephone. There is a wooden rest attached to the lower front of phone on an angle. There are two half circular bells attached to the phone above the mouthpiece.

The lightstation was connected by telephone to Cann River in 1928. The lighthouse retains ablack Bakelite telephone attached to the lantern room wall on timber box mount. It has a crank handle with instructions for its use on the crank dial, and a coiled handset cord, which probably dates the phone to just after 1949 when coiled examples like these began to replace fabric covered smooth cords. An image in 1991 shows the phone in the lower level of the lantern room It is one of four telephones at the lightstsation; with two others attached to walls in the assistant keepers’ quarters, and one in the head keeper’s quarters. The four phones formed an intercom system that facilitated communication between the lightstation buildings. Three telephones of the same wall-mounted, crank dial type remain at Gabo Island Lightstation; four remain at Cape Otway and five older examples remain at Cape Nelson Lightstation As fixtures attached to the wall, the four telephones are considered to be part of the building fabric and therefore included in the existing Victorian Heritage Register listing for the lightstation (VHR 1983).As fixtures attached to the wall, the four telephones are considered to be part of the building fabric and therefore included in the existing VHR listing for the lightstation (VHR 1983).Four telephones with a crank handle mounted on a wooden base, one is fixed to the wall of the lantern room and is black bakelite. Yes

In architecture a corbel serves a decorative as well as structural function as a solid piece of stone, wood or metal that is built into a wall and juts out like a bracket to carry a weight. The smoothly shaped corbel was formerly built into the external wall of the lighthouse facing the sea. It consists of two cupped, rounded forms, one bigger than the other, which are attached to a damaged flat base. Made of cast concrete, it is the same fabric as the lighthouse and shows evidence of white paint on its surface. An early architectural drawing of the tower shows the corbel as a projecting, decorative moulding underpinning the balcony floor associated with the auxiliary light. It indicates the original corbel was a much larger architectural feature which started as a solid rectangular block and terminated with a smaller block and then two tapering, rounded forms. Prepared in mid-1888, the architectural drawings for the lighthouse by Victorian Public Works Department architect, Frederick Hynes, were amended in 1888-89 to provide for an auxiliary light, which comprised an arched opening and door in the tower wall below the lantern room and small balcony. In the late nineteenth century all of Victoria’s lightstations installed a red auxiliary light to serve as a danger warning to mariners sailing too close to shoare. Existing lightstations, like Cape Otway, built a pavilion below their lighthouse facing out to sea, but newly constructed towers like Point Hicks and Split Point incorporated them into their designs. The efficacy of auxiliary lights became a controversial issue and all were discontinued on 1 January 1913. The Point Hicks balcony was removed from the face of the tower in 1971 after it was found to be badly rusted. This resulted in the complete removal of the corbel, from which the rounded moulding and part of the base survives. The auxiliary light and door were subsequently removed in 1975 and glass blocks now fill the opening. Cape Schanck Lightstation retains four cast iron brackets from its auxiliary light balcony which are currently stored in the lighthouse on the ground floor. No other architectural fabric associated with the auxiliary light has been identified at Point Hicks Lightstation. The fragment of corbel has first level contributory significance for its historic and architectural values as a relic of the auxiliary light and as an original moulding from the fabric of Victoria’s first concrete lighthouse.A masonary corbel.