Also two other copies 10 x 15 cmSepia postcard showing diver going down to the S S Despatch off piers. Four small boats in attendance, belonging to the Salmon company. Lakes Entrance VictoriaDiver going down to the Despatch R Martin photoships and shipping, shipwrecks, coast

Don Walker was club professional at Heidelberg Golf Club 1936-1941. He died on active service in World War 2. The Don Walker Memorial Trophy is named in his honour.One of a full set of Don Walker golf clubs held at HGC.Metal shaft, wooden head and leather grip.Brass plate on base of head: "2"heidelberg golf club, golf clubs, woods, golf professionals, don walker

First ocean going vessel in world built of mild steel. Was known as the "Greyhound of the Pacific". Laid up December 1920 and hull sunk in Bass Strait in 1928.RealismMounted sepia photograph of a painting by A V Gregory of the steam ship S S RotomahanaS S Rotomahana and A V Gregorysepia photograph, a v gregory, ss rotomahana, steam ship

Don Walker was club professional at Heidelberg Golf Club 1936-1941. He died on active service in World War 2. The Don Walker Memorial Trophy is named in his honour.One of a full set of Don Walker golf clubs held at HGC.Metal shaft and head, rubber grip.Inscription on head: "Don Walker. Stainless. No.9"heidelberg golf club, golf clubs, golf professionals, don walker, irons (golf)

Bobby Locke (1917-1987) was a South African professional golfer. He designed golf clubs for Slazenger.One of a set of Bobby Locke golf clubs held at HGC.Metal shaft and head, leather grip.Inscription on head: "Bobby Locke. Putter. Slazenger"golf clubs, golf professionals, bobby locke, putters

A forged steel headed paling knife or froe with a wooden handle used for splitting wood along the grain. It is sometimes called a cleaving tool. There is a large indented cross on the side of the head of the blade where the handle joins it.A large cross is indented on the head.cleaving tools, woodworking tools, froes, rending axes, cleaving irons

Newspaper clipping from Preston Post Times, 24/5/1983, titled "Steve's in a spin" of the launch of the 100th Z3 class tramcar at Preston Workshops. Newspaper clipping notes that there are 15 more Z3's to go, then the A class and also the introduction of the articulated trams and extension to Bolderwood Parade opened in May. Has a photo of the Transport Minister, Steve Crabb with his head out of the window of Z3 215.In ink on top edge "Preston Post Times 24/5/83"trams, tramways, preston workshops, z3 class, launch, tram 215

Walter Hagen (1892-1969) was a professional golfer who won 11 majors. He designed golf clubs for Wilson.Metal shaft and wooden head, rubber grip.Carved on base of head: "Walter Hagen 4"heidelberg golf club, golf clubs, woods, golf professionals, walter hagen

A pictorial anthology of Indigenous Australia from 1847-2008. Published to coincide with the first anniversary of the Apology to the Stolen Generations, this title is a stunning and emotive record of the first Australians. All proceeds from the sale going to the Jimmy Little Foundation.b&w photographs, colour photographs

THE MANNEQUIN The included wooden mannequin made by J.A. Walker of Melbourne has been very well used, as can be seen from the pin marks and split and torn fabric in areas where pins would have been used many times. The painted wood of the bodice is wearing away. The top of the neck is very rough in the centre, indicating that it possibly had a knob, handle or even a head shape on top. The mannequin could have been used for storing and cleaning of the evening outfit and even in the process of making it. It is made to match the measurements of the outfit beautifully and would be close in measurement to Mrs. Isabella Mitchell. Isabella’s sister-in-law Eliza Russell made her own wedding dress and perhaps she or Isabella herself made the evening outfit using the mannequin for fittings. The mannequin is significant as its size gives an image of the shape of the evening outfit’s owner. It is also significant as an example of the process and skills to create garments of fashion during the period, with many people making their own garments. The mannequin is also an example of an item manufactured in Melbourne in colonial times. This wooden display mannequin is from neck to floor length. It has a round pedestal. The mannequin’s bodice has been painted black. It is padded then covered in black fabric. The maker of the mannequin was J.A. Walker of Melbourne. It dates to the mid-late 19th century.Mannequin maker’s fabric label “J.A. WALKER / MANUFACTURER / MELBOURNE”mannequin wooden, mannequin made in melbourne, dressmaker’s mannequin, 19th century mannequin, dress form, display mannequin, custom made mannequin, dressmaker’s dummy, andique mannequin, clothing display, j.a. walker manufacturer melbourne, j.a. walker mannequin manufacturer, evening outfit

Old logging stamp hammer, double-sided, iron head on wooden handle. F.C. on one end. Arrow on the other end. Probably used to mark trees on public land.F.C. on one end of head. Arrow on other end of head. Metal head painted grey.forestry commission, branding hammer

SS Orungal before its demise on 21 Nov 1940Historical photo of SS Orungal sometime before 21 Nov 1940B & W photo of SS Orungal sailing past Barwon HeadsReverse " Orungal off Barwon Heads ".historical references

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

This Sleeper Marker Hammer was donated by Noel Eames and was owned by his GrandfatherSleeper Hammer Marker has steel head with flat nose and wooden handleInitials of owner operator at top of headsleeper, hammer, railways

Walter Hagen (1892-1969) was a professional golfer who won 11 majors. He designed golf clubs for Wilson.Metal shaft and wooden head, rubber grip.Carved on base of head: "Walter Hagen WH 3"heidelberg golf club, golf clubs, woods, golf professionals, walter hagen

Picnic Picnics were one the events the Mission with the Ladies Harbour Light Guild would organise on regular basis. This was an opportunity for the sailors to enjoy some time off on the land, a time to play games and sports.Black and white photograph depicting sailors wearing suits and hats seated in two motor boats on the river. In the background on the right is the ship they might have just left to go to a picnic. On loose page 14Below on the album page is written: Boats going to picnic 1928.picnic, lhlg, sailors, seamen, yarra river, ship, melbourne, 1928, fan album, john reginald weller (1880-1969)

Bobby Locke (1917-1987) was a South African professional golfer. He designed golf clubs for Slazenger.One of a set of Bobby Locke golf clubs held at HGC.Metal shaft and head, leather grip.Inscription on head: "Bobby Locke. Stainless. Approacher. Slazengers 10"golf clubs, golf professionals, bobby locke, irons (golf)

Al Whykes was the Heidelberg Golf Club's professional from 1946 to 1967One of a pair of Al Whykes golf clubs held at HGC.Metal shaft and head, leather grip.Inscription on head: "P75. Professional model. Al Whykes. 9."golf clubs, golf professionals, al whykes, irons (golf)

The item goes with 1321 Photo Print Box owned by Jack Grinton No 1043, 38th Batt AIF. Part of the Grinton collection which included hundreds of negatives and developed photos that he took during the Great War. Refer cat No 1280 for service details. Refer also 1317P, 1320P.Brown paper envelope containing black paper printing masks for B&W negatives. The holes are in various rectangular, circular and oval shapes.Envelopes in marked "Kodak Printing Masks. Size 2 Br. (2 1/4"x3 1/4") 9d per pkt."photography, print, accessory, grinton

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card.Printed lower left hand side of the card "American Studio, 324 Geo. St."tintype, american studio, woman, unidentified woman, women, photograph

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head, attached to a card. Printed on the lower edge of the card "Allen & Gove, American Studion, 6 Sturt St, Ballarat"ballarat, american studio, little gem, allen gove, tintype, woman, unidentified woman, photography

Orange title - Black orange image top left - Black & White Book, 235 pages, about Julia Tuttle the mother of Miami (Head image of Mary Brickell - Inside front and back cover - Orange images (front/back cover)non-fictionA historical book about Miami, centred around one of the primary city founders Mary Brickell. Author and historian Cesar Bererramary brickell, julia tuttle, miami, florida, city of brickell, william brickell

Used for ceremonial purposes by the members of the Farmers arms Lodge OrfordCeremonial axe and hand: a. Stained wood handle ceremonial painted head, floral emblem, skull and cross bones. b. Wooden hand clasping heart in palmMORS on axe headlocal history, societies, grand united order of oddfellows, orford

Yields information about the final stages of the demolition of the Ballarat tram depot.Photocopy of a photograph from The Courier, 8/8/1972 showing the remnants of the tram depot, demolished from the rear to the front. Titled "A landmark goes". See item 5389 for the newspaper clipping.trams, tramways, demolition, depot, sec

Bobby Locke (1917-1987) was a South African professional golfer. He designed golf clubs for Slazenger.One of a set of Bobby Locke golf clubs held at HGC.Metal shaft and head, leather grip.Inscription on head: "Bobby Locke. Stainless, loft 22o Lie31o. Slazengers 2"golf clubs, golf professionals, bobby locke, irons (golf)

Used by German Soldiers to protect against chemical weapons WWI German Gas Mask made of Tan rubberised canvas, with metal canister and cellophane eyes. Elastic straps for the wearer to fit to head and a long cotton strap to wear around neck when mask is not in use. Hand written text on head straps.Hand written text on head straps - indescribable. ww1, german, gas mask, wark vc club