Catalogue for the auction of items of the Albert Park Emergency Hospital at the Drill Hall, 178 Bridport Street, Albert Park, under instruction of a combined committee of the South Melbourne, Port Melbourne and St Kilda Councils. The full date is not given. During the Spanish Flu epidemic in 1919, 34 emergency hospitals were created in Victoria because the existing hospitals were unable to cope with the demand for care. An Epidemic Hospital was set up in the Drill Room at Albert Park, the expenses shared between the South Melbourne, Port Melbourne and St. Kilda Councils, to serve influenza patients from those local government areas. Each Council had three representatives on the Board of Management. Like the other emergency hospitals, the Albert Park hospital operated only for a short time while the epidemic was at its height. As noted in the catalogue, 'the majority of the blankets, etc. were never used.' It is possible that items advertised in this catalogue were auctioned on Thursday 19 August and Friday 20 August 1920. The items for sale include hospital equipment, furniture, sheets, pillows, towels, building materials, blankets, crockery, cutlery, clothing, furnishings.Document of 3 sheets of white paper (discoloured with age), folded and stapled and printed in blackalbert park emergency hospital, spanish flu, spanish influenza

Doris Lilian Wright of 214 Union Road was a milliner but joined the Australian Women's Army Service (AWAS) in the early war years. The Women’s Australian National Service (WANS) was inaugurated in 1940. Training for members of the WANS included air raid drills, first aid, basic military drills, and even shooting, signalling, and mechanics. AWAS on formed on 13 August 1941 with the objective of releasing more men into forward areas. The Army was particular with its recruiting and four references were required; another stipulation was that teeth were in good condition. Doris was located at Elwood. Their training area was along the foreshore and one day to their great surprise there were crowds of American Marines – "the cream of the American Army". These were the first Americans to arrive in Australia to strengthen the defence of the country. The Americans soon went north and the AWAS went off to Balcombe on the Mornington Peninsula. At this time there were no uniforms for the girls only ‘giggle’ dresses – of a non-descript colour. They were not expected to appear in public in these and wore civilian dress. Japan had just entered the war and there were more urgent demands on restricted supplies. The formal uniforms eventually arrived.A black and white photograph of a lady in an army uniform and wearing a hat.union road, surrey hills, uniforms, clothing and dress, (miss) doris wright, australian women's army service

Stevenson screens were first introduced in Australia in the 1880s and were widely installed by 1910. The screens have been used to shelter and protect thermometers and other meteorological instruments from rain and direct heat while the holes and double-louvre walls allowed air to flow around them. Sometimes other meteorological instruments were included in the weather stations, so there were different Stevenson Screen sizes. This authentic, original Stevenson screen was previously owned by the Australian Bureau of Meteorology and was used for many years for weather readings at the Cape Otway Light Station in southwest Victoria. The Lighthouse Keepers recorded the readings for minimum and maximum temperatures at 9 a.m. every day from January 1865 until April 1994. The equipment was sheltered in a Stevenson Screen from 1902 until April 15 1994, when the mercury thermometer was replaced by a platinum resistance probe within an Automatic Weather Station (AWS). This Stevenson screen is one of the two screens that then became redundant. The other Stevenson screen was kept to display to visitors. Lightkeepers were no longer required at the Cape Otway Light station either, due to the automated system. The meteorological instruments donated with the screen were used for measuring temperature and humidity. They are mounted on a metal bracket that fits across the screw holes on the screen’s internal frame. The glass-covered Relative Humidity (RH) sensor was made by the renowned precision instrument maker, Rotronic AG of Switzerland, which was founded in 1965. The firm made its first electronic temperature and humidity instrument in 1967. Meteorological records have been collected in Australia from the 1800s. The records were collated, published and used as a basis for weather forecasts. Many sectors, such as maritime and agriculture industries, have relied on these figures for making important decisions. The quality and placement of the meteorological instruments used to measure temperature and humidity are of utmost importance for accuracy. In early colonial times, there were no national standards for meteorological instruments that would allow for accurate figures and comparisons. Once the Bureau of Meteorology was established (around 1908 to 1910) the department installed Stevenson screens throughout Australia, many at lighthouses and light stations, and the measuring instruments were standardised. The Stevenson Screen was named after its inventor, Scottish Civil Engineer Thomas Stevenson (1818-1887) who was also the father of Robert Louis Stevenson, author. Stevenson developed the small thermometer screen around 1867. It had double-louvred walls around the sides and a top of two asbestos sheets with an air space between them and was thickly painted with a white coating that reflected the sun’s rays. This design was modified in 1884 by Edward Mawley of the Royal Meteorological Society. Standards were set for the locations of the screens and instruments, including their distance above ground level and the direction the door faced.Stevenson screens played a significant part in providing a standardised shelter for all meteorological instruments used by the Australian Bureau of Meteorology from about 1910 until 1994. The readings from the instruments gave the meteorological statistics on which weather forecasts throughout Australia were based. This Stevenson screen was used locally at Cape Otway, along the Great Ocean Road in southwest Victoria, so contributed towards our local forecasts and weather warnings.Stevenson screen, original, from the Australian Bureau of Meteorology’s weather station at the Cape Otway Lighthouse. The screen is a white wooden cupboard with a slanted cover raised above the top. The top has ten drilled ventilation holes, and the sides and door are made of downward-slanting double louvres. Two brass hinges join the door to the lower edge of the screen and a metal fitting at the top edge allows for a padlock closure. The screen is supported on four short legs, each with a hole drilled from side to side for fitting to a frame. Inside the screen are two wooden frames fitted with hooks and screws. The floor has three boards; one across the back and one across the front at the same level, and a board wider than the space between these boards is fitted higher, overlapping them slightly. Inside the screen, a pair of electronic instruments with short electric cables is mounted on a metal bracket with drilled holes in it. One of the instruments is a Relative Humidity (RH) probe. It is 26 cm long and is a glass tube with a filter on one end and an electrical connection on the other. It has inscriptions on its label, showing that was made by Rotronic AG, Switzerland. The other instrument is a Resistance Temperature Device (RTD) thermometer. It is 22.5 cm long and has a narrow metal probe joined to a hexagonal metal fitting. A brass plate on the front of the screen has impressed inscriptions. The screen is Serial Number 01/C0032, Catalogue Number 235862.Stamped into brass plate "CAT. NO. / 253862 / SERIAL NO. 01/C0032" On instrument’s electrical fitting; “CD2” [within oval ‘+’ above S] “Serie693 op65 / 220/380V~16A” On instrument’s glass; “rotronic ag” “SWISS MADE” “CE / CH-8303 / Bassersdorf” Symbol for [BARCODE] “ART NO MP 101A_T4-W4W” “POWER 4.8.30VDC“ “OP. RANGE: 0-100%RH/-40+60° C” “OUT H 0-100% 0-1V” “OUT T -40+60°C -0.4..+0.6V” “SERIE NO 19522 009”flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, cotton region shelter, instrument shelter, thermometer shelter, thermoscreen, thermometer screen, measuring instruments, meteorological instrument, weather recording, weather station, lighthouse equipment, light station equipment, stevenson screen, marine instruments, mercury thermometer, platinum resistance probe, aws, automatic weather station, rotronic ag, swiss made, meteorological device, weather forecast, weather prediction, weather records, meteorological forecast, meteorological record, australian bureau of meteorology, bureau of meteorology, bureau, bom, relative humidity, rh, relative humidity probe, resistance temperature device, rtd, thermometer, temperature, humidity, cape otway, cape otway lighthouse, cape otway light station, rotronic, switzerland, swiss instrument, thomas stevenson, double-louvered walls, edward mawley, royal meteorological society, 01/c0032, serial number, cat. no. 235862, serial no. 01/c00323

Tank suit - green cotton drill fabric. All in one garment with long sleeves, metal zipper fly and front closure, green plastic buttons. Collar, shoulder epaulettes, five pockets with button down flaps, sleeve cuffs. Rank insignia on sleeves - 3 stripes - Sargeant. Green fabric name patch above right hand pocket. Green Manufacturers label, back below collar. Manufacturers label with black ink print (faded), "VICTORIA/ 1986/ ^/ SIZE 80-915/ 8405 - 66090-5610/ ARMY NO/ NAME". Name patch - black ink print "MURPHY".uniform, army, tank suit

This violin was made by Mr Edward Richter who lived in Warrnambool for 78 of his 85 years. he was born 10/03/1853 and was an expert model maker making models of ships. The Warrnambool Museum in 1937 held a model of the Cutty Sark which he had made from timber from the wreck of the Enterprise which was wrecked on Warrnambool beach. Violins were another of of his hobbies.This violin has a connection to Warrnambool through the maker who was a long time resident of the town. It belongs to an era when many people were interested in and turned their hand to making objects such as this.The body of the violin is stained brown in colour with black neck and bridge. The four strings are nylon. The pegs and scroll are timber of a finer grain than the front and back.The tailpiece and end button are black material. The bridge is missing. The stand is rectangular with violin shape cutout, painted in red with a ply backing. Small leather strap on one end. Six large and two small drilled holes around front section.Richter written in large letters on back of standwarrnambool, edward richter, handmade violin, richter warrnambool

Four page memorandum titled 'Strictly Confidential' between J.H. Lalor and R. Woodall, regarding Bendigo Proposed Exploration. Two options 'for ongoing exploration and development at Bendigo are: an underground exploration development program similar to Stawell and, secondly, limited traverse percussion drilling on traverses 800m and 400m apart prior to underground development'. Three areas are discussed, Spring Gully, Sailors Gully and Quarry Hill.bendigo, gold mining, exploration of bendigo goldfield, bendigo, central deborah gold mine, spring gully, sailors gully, quarry hill, anticline, exploration, western mining corporation, bendigo mining nl

Demonstrates how the SEC used enameled signs to convey instructions to passengers and confirm the advice of the conductor.,An enameled sign with black lettering and border on an off-white background. Lettering reads, "Passengers are requested to provide themselves with correct amount of Fare." Rust markings show on the face where the enamel has chipped. Two holes have been drilled in the sides to attach sign to the tram cab. The reverse is a mixture of black and white enamel, marked with patches of rust where the enamel has worn away.tram signs, tramway enamel signage

In May 2000, the Victorian Mounted Rifles Squadron 4/19 Prince of Wales's Light Horse relocated from its depot, Buna Barracks Albury to a new depot at Building 105 North Bandiana. The relocation included the regiment's heritage collection, and its heritage vehicles needed to be moved. Buna Barracks had been home to the 8/13 VMR since 1948, and to the city's citizen soldiers for fifty years prior to that. Following the move the historic Drill Hall was demolished and the land sold for residential development. Colour photograph of a Centurion tank loaded onto a low-loader trailer during the relocation from Buna Barracks Albury to North Bandiana May 2000.vmr, centurion, pwlh

This flare pictured is one of three lighting or signal flares. These are pyrotechnic devices used at sea, mainly as a distress signal. However, they have other meanings when used for naval purposes, such as the executive order to start a particular manoeuvre. These are usually packaged as part of a distress pack containing all necessary rockets or flares for immediate use, in any emergency, by ships and off-shore yachts.This set of three flares is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Flare; mushroom coloured cylinder, metal base with wooden top joined to it. Base has removable cap with metal encased wooden fuse attached, which holds seven removeable pegs and rings. String threaded through top holes has a wooden peg attached. Top also has holes drilled on opposing sides through which the peg would fit. Inscriptions stamped in black on base, and impressed into cap. Stamped black: "I" Impressed into cap: ""I", "R↑L" (inside oval).flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, lady bay, warrnambool harbour, port of warrnambool, shipwreck, life-saving, lifesaving, rescue crew, rescue, rocket rescue, rocket crew, lifeboat men, beach rescue, line rescue, rescue equipment, rocket firing equipment, rocket rescue equipment, maritime accidents, shipwreck victim, rocket equipment, marine technology, rescue boat, lifeboat, life saving rescue crew, lifesaving rescue crew, rocket rescue method, rocket apparatus rescue, stranded vessel, mortar, life jacket, rocket machine, rocket line, rocket set, schermuly, harbour board, government of victoria, harbour master, armband, l.s.r.c., lsrc, flare, light, safety equipment, distress signal, safety at sea, emergency signal, broad arrow, communication signal, vingage, pyrotechnic flare

This example of a sailing ship’s ‘dead-eye’ is from the wreck of the LOCH ARD, which sank near Port Campbell in 1878. The vessel was an iron hulled clipper ship constructed for the Loch Line in 1873. It was part of a fleet of similar merchant ships owned by that company, which specialised in bringing passengers and goods from London via the Great Circle route to Melbourne, and returning to Britain via Cape Horn with the colony’s wool clip. Deadeyes were a common feature of sailing ship technology in the nineteenth century. They were a simple, cheap, and hard-wearing device that, in conjunction with another deadeye, provided an effective means of levering, or tightening, attached ropes and stays. Lower deadeyes were fixed to the sides of the ship by an encircling metal collar (inset in a flattish groove chiselled around the outer circumference of the disc), which was bolted to iron bars attached to the hull (called chain-plates). Upper deadeyes were looped by a strong hemp or wire rope (inset in a rounded groove carved around the outer circumference of the disc), which was joined to the bottom ends of the rigging which reached up to secure the masts into position (called shrouds or stays). Connecting a Lower deadeye to its corresponding Upper deadeye was a rope (called a lanyard) which looped up and down through the three “eyes” of each disc, to form a pulley system. The hitching of the two deadeyes with a looped lanyard provided the means of tightening, or loosening, the tension on the mast rigging ― essentially by pulling against the chain-plates bolted to the outside of the hull. It was a procedure that could be performed by sailors at sea and in emergencies. For example, after a gale the stays may have stretched and the masts worked loose, requiring retightening. Or, in the extreme circumstance of shipwreck, the lanyards might need to be released on the weather side, so that the masts fall away from the stricken vessel. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A reasonably well-preserved ship’s deadeye with rust-stained wire loop-rope still attached. It retains portions of its original hemp cord and hessian wrapping. The flat sides of this thick wooden disc have three holes drilled through in a triangular configuration. The artefact is from the shipwreck of the LOCH ARD (1878). The survival of the loop-rope (wire cable) indicates it was an Upper Deadeye, connected to the shrouds (mast rigging).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, deadeye, rigging

Pittock collection: assorted metal items * brass hose spray, 85 mm L * three corner squares, 35 x 35 x20 mm D * one large steel slide bolt, 202 mm L x 30 mm W * two U-bolt brackets * one drill bit 65 mm L Items stored in Pittock coach builder's box, reference 13000.1.

Leather helmet, cream shirt, charcoal grey trousers with button fly. Leather belt and pair of leather boots. Helmet lining is 100% black ribbed cotton. .1) & .2) shirt & trousers; .3) helmet; .4) belt; .5) & .6) boots. Right boot has hole drilled through sole to accommodate spike at base of display mannequin's leg. Belt is marked on inside near the buckle "Hero / 38"".Left boot has a white sticker "hora" painted in black. Right boot has black "X" on outside top. Both boots have "ooDED (?) / HURRAY 42" moulded into leather on outer surface of inside edge of tops. Trousers have stick on label "ROM 4" inside back of waistband.costume, male

The wooden pattern is part of a set that are stored in a strong wooden crate. It was used at Briggs’ Brass Foundry for making sand casts. It may fit together with one of the other patterns with a similar outline. The traditional craft of sand casting is over 2000 years old. The handcrafted process produces brass and copper alloy goods that are well suited to marine use; bells, boat hooks, cowls, propellers, handles, lids, rowlocks, hooks, letters, bolts, rail holders, brackets, deck plates, flanges, rudder guides, portholes and covers. Briggs’ Bronze mixture is a copper-based alloy made from local ingots of copper, tin, zinc and lead in carefully measured quantities. The finished product is non-ferrous and can last indefinitely. The crate of patterns was donated by the Briggs family in the early years of Flagstaff Hill, along with other related items such as brassware, tools and machinery. The donated items were displayed in a simulated Brass Foundry in the Village along with other working crafts, trades and services found in a Maritime town. The items were on show from the completion of the building in 1986 until 1994 when the building was repurposed. The patterns represent the trades of foundering and metalwork, both supporting maritime industries such as shipwrights and boatbuilders. Farmers, manufacturers and other local industries also needed the castings made by foundries. The Brass Foundry included a historic Cornish chimney set up as a working model, to tell the story of smelted metal heated in furnaces then be poured into the sand moulds. This chimney was made from specially curved bricks and is now about two-thirds of its full height when originally located at the Grassmere Cheese factory. The craft of sand-casting from carved wooden patterns to create metal is an example of skills from the past that are still used today. The foundry pattern set is significant for its association with brass foundries locally and generally in coastal areas of Victoria. Marine industries such as ship and boat building rely on good quality castings for their machinery, equipment and fittings. Briggs Brass was especially formulated using non-ferrous metals to ensure their longevity. The patterns are associated with the long-running firm Briggs Brass Foundry that specialised in cast goods for the marine industry, ready to supply the needs for once-off or mass-produced items. Their products would have been fitted to sail and steam vessels along coastal Victoria including Warrnambool. Briggs Marine was also a bell-founder specialist and is also associated with the Schomberg Bell at Flagstaff Hill, having restored it to is former state as a fine example of the bell from a luxury migrant vessel from the mid-19th century.Pattern; thick square mostly unopainted wooden block with a solid half-cylinder added to the top, which has rounded shoulders. A disc is added to the front, aligned with the curve at the top. The top curve has orange paint and the dial is pink. Three holes are drilled in the back, in a triangular configuration. It is similar in shape to a mantle clock or an early-style radio. The pattern is part of a set of foundry patterns from Briggs Brass Foundry.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, briggs' bronze, traditional method, trade, sand cast, cast, brass alloy, copper alloy, pattern, mould, foundry, brass foundry, metal foundry, casting, sand mould, sand casting, marine equipment, marine tools, marine fittings, copper tin zinc lead, non-ferrous, non-corrosive, brassware, metalware, foundering, metalwork, maritime, bell founders, ship chandlers, marine products, biggs, briggs family, herbert harrison briggs, h h briggs, george edward briggs, cyril falkiner mckinnon briggs, cyril briggs, briggs & son brass foundry, h h briggs & sons foundry, briggs marine, alliance casting & engineering solutions, grassmere cheese factory, cornish chimney, curved bricks, collingwood, moorabbin, collingwood foundry, moorabbin foundry, 1912

Mt Beauty rural fire brigade was established in 1948 by the State Electricity Commission of Victoria as an industry brigade. When Mt Beauty was handed over to the Shire in 1961, the fire brigade became a member of the Country Fire Authority (C.F.A.). Today it is an urban fire brigade. The t-shirt would have been used when members were together during fire drills, competitions, meetings etc. The black shirt was used prior to 1950 and the Red shirt was used after March 1950 The red t-shirt was used in the following yearThe t-shirt was part of the Mt Beauty fire brigade uniform indicating that the fire fighters were part of a team and were able and wanted to be recognised. It also indicates a strong and popular organisation. Black thick cotton t-shirt with collar and short sleeves. A zip is at the top front. Sleeves have yellow strip near their opening. "Mount Beauty F B" has been zig zagged stitched onto the front, also in yellow. Red thick cotton t-shirt with collar and short sleeves. 2 buttons at the top front. Sleeves have a yellow strip near their opening."Mount / Beauty" has been zig zagged stitched onto the front, also in yellow.Tag inside back under collar - "Sportswear / Simpson / of Melbourne / Mr - then P.A.B. handwritten in space provided. also '36' and 'All cotton' tags attached. Tag inside back under the collar - "Haworth Knit / Glen Iris, Melb./ 100% Cotton"mt beauty; fire brigade; clothing; state electricity commission of victoria

This draw knife once belonged to a Sough Australian family of coopers, or barrel makers surnamed Schahinger. The maker was Hale Bros. of Sheffield. The brothers, John Thomas Hale (1853-1919) and Samuel Stafford Hale (1855-1948) owned the Moorfield Works. The firm's Corporate Mark of a horse's head was granted in 1842 and came with the statement that "All tools marked with a "Horse's Head" are Guaranteed". The firm made tools for edgers and joiners, wall drills, cold chisels, files and rasps, printers' and publishers' tools, butchers' and bread knives, and table cutlery. This draw knife was used by a cooper in South Australia for making wooden barrels in the traditional manner. The makers had a family business of making knives, cutlery and tools for trades people. This draw knife is relevant to the trades represented in a maritime village of the late 19th century. Draw knife; cooper's steel draw knife with bulbous wooden handles that have scored rings as decoration. The straight blade is 13 inches long. Inscription and logo of a horse's head on centre of blade. Made by Hale Bros of Sheffield. "HALE BROS / SHEFFIELD / - - - - " Image [Horse's Head]flagstaff hill, warrnambool, maritime-museum, coopers, draw knife, barrel maker, hale bros., sheffield, moorfield works, john thomas hale, samuel stafford hale, knife makers

In 1889 the three central fire brigades of Bendigo were amalgamated and a new fire station was erected in View Street (the third to be built on this site). This two storied brick building designed by Wm. Beebe forms an integral past of the View Street landscape. The red brick, white plaster relief trimmings and window frames with greenish lead-light decoration, all reflect the late Victorian style of the building. The ground floor contained an engine station and call room with stalls to accomodate three horses immediately behind. Upstairs in the main building is a handsome drill hall.Series of letters between Miss Starke and Miss Mathison re classification of the building by the National Trust; Letter to the Country Fire Authority (CFA) re classification; Media Release; National Trust data survey form; two photos of the fire stationhistory, national trust bendigo collection, bendigo, bendigo fire station

In 1936, a plate commemorating Adam Lindsay Gordon's service as a soldier of the Queen was installed in the Wilson Memorial Hall— formerly known as the Brighton Drill Hall— recording that the poet was sworn in there as a member of the Brighton Artillery Corps in 1869. Gordon lived in Brighton for only 14 months, but took an active interest in the Artillery Corps. In addition to the memorial plate, two photographs of the Brighton Artillery corps, were unveiled by Mr A. C. Wilson, a son of the Councillor Thomas Wilson before whom the poet took the oath of allegiance to the Queen. This photograph shows a group of the corps, with Gordon in uniform.brighton artillery corps, soldier, adam lindsay gordon, a.c. wilson, cr. t. wilson, poet

In 1936, a plate commemorating Adam Lindsay Gordon's service as a soldier of the Queen was installed in the Wilson Memorial Hall— formerly known as the Brighton Drill Hall— recording that the poet was sworn in there as a member of the Brighton Artillery Corps in 1869. Gordon lived in Brighton for only 14 months, but took an active interest in the Artillery Corps. In addition to the memorial plate, two photographs of the Brighton Artillery corps, were unveiled by Mr A. C. Wilson, a son of the Councillor Thomas Wilson before whom the poet took the oath of allegiance to the Queen. This photograph shows a group of the corps.brighton artillery corps, soldier, adam lindsay gordon, a.c. wilson, cr. t. wilson, poet

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

The 1980s saw a rise in campaigns for Antarctica to be designated a World Park. Black’s screenprints celebrate the creatures of the continent, however invocations such as ‘protect Antarctica from all mineral and oil exploration and exploitation’ remind the viewer that these creatures are in peril. Black printed 500 of these postcards (described as ‘Antarcticards’) at the Redletter Press in Brunswick and they were distributed around the world, reaching as far as Macquarie and Heard Islands. The campaigning was successful, with Australian Prime Minister Bob Hawke announcing that Australia would not support an agreement that would open the Australian Antarctic Territory up to mining and oil drilling.Donated by the artist8 prints in total

This is a set of 29 black & white photographs of troops from the Army Headquarters Survey Regiment undertaking ceremonial drill at the military funeral for SSGT Peter Dew on the 28th of September 1977. The location of the funeral service was at Fortuna, Bendigo. He was buried at Bendigo Cemetery in Quarry Hill. Peter Dew died in a tragic accident at home. He was fondly remembered as one of Lithographic Squadron’s colourful personalities. See item 6243.7P for photos of Peter Dew at work in Lithographic Squadron. The "Super Animal of the Year" Peter Dew Memorial Award was an award presented to a member of the squadron for a crude act. To view a photo of this award, refer to item 6230 of the Victorian Collections. Some photos in this set were also printed on photo paper and catalogued under item 6335.5P.This is a set of 29 black & white photographs of troops from the Army Headquarters Survey Regiment undertaking ceremonial drill at the military funeral for SSGT Peter held in 1977. The photographs are on 35mm negative film and scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) - Photo, black & white, 1977. Rifle party commander: CPL Greg Kidman. Right file right marker: SPR Russ Mollenhauer, unidentified soldiers and civilians. .2) - Photo, black & white, 1977. Unidentified soldiers and civilians. .3) - Photo, black & white, 1977. R to L: SSGT Alan Adsett, WO2 John McCulloch, SGT Graeme Jeffers in foreground holding hats. Remainder unidentified. .4) to .6) - Photo, black & white, 1977. Unidentified soldiers and civilians. R to L: SSGT Alan Adsett, WO2 John McCulloch, unidentified soldiers and civilians. .7) - Photo, black & white, 1977. Pall bearers position the coffin onto the gun carriage. Rifle party commander: CPL Greg Kidman. Right file right marker: SPR Russ Mollenhauer. Seen in background to the right of pall bearers: L to R: CPL Ian Belmont, unidentified, facing away- PTE Le-anne (Smallshaw) Shirley, CPL Di Chalmers, unidentified soldiers and civilians. .8) - Photo, black & white, 1977. Rifle party rear rank right marker: Russ Mollenhauer. Front rank rifle party commander next to right marker: Greg Kidman. Pall bearers in front of vehicle L to R: Dave Miles, Dick Barwald. Remainder unidentified. .9) - Photo, black & white, 1977. In position at beginning of funeral procession, unidentified soldiers and civilians. .10) & .11) - Photo, black & white, 1977. Rifle party commander: CPL Greg Kidman and the rifle party slow march past the front of Fortuna Villa. .12) - Photo, black & white, 1977. The rifle party slow march past the front of Fortuna Villa. Rifle party commander: Greg Kidman. Right file front to back: SPR Russ Mollenhauer, SPR Peter Breukel, SPR Bill Jones, SPR John Anderson. Remainder unidentified. Left file front to back: SPR Jeff Willey, unidentified, SPR Rhys De Laine, SPR Frank Lenane, SPR Josh Degroot, SPR Gary Drummond. .13) - Photo, black & white, 1977. The rifle party slow march past the front of Fortuna Villa. Rifle party commander: Greg Kidman. Right file: SPR Russ Mollenhauer, Left file: SPR Jeff Willey, remainder unidentified. .14) - Photo, black & white, 1977. The rifle party march at quick time towards the entry gate. .15) - Photo, black & white, 1977. The rifle party march at quick time past the front of Fortuna Villa. Rifle party commander: Greg Kidman. Right file: SPR Russ Mollenhauer, Left file: SPR Jeff Willey, remainder unidentified. .16) - Photo, black & white, 1977. The procession marches at quick time towards the entry gate. .17) - Photo, black & white, 1977. The procession departs the entry gate. .18) to .21)- Photo, black & white, 1977. The procession passes through the cemetery. .22) - Photo, black & white, 1977. The procession passes through the cemetery. RSM Wo1 Aub Harvey at far left. Remainder unidentified. .23) - Photo, black & white, 1977. Pallbearers carry Peter Dew’s coffin to the grave site. .24) - Photo, black & white, 1977. The rifle party in position at ‘rest on arms reverse’. .25) - Photo, black & white, 1977. Service at grave site. Left of minister: SGT Alan Toogood. On right of tree L to R: WO2 Max Neil, WO2 Bob Hayden, WO1 Dave Malligan, PTE Le-Anne (Smallshaw) Shirley, CAPT Stan Vote. Remainder unidentified. .26) - Photo, black & white, 1977. The rifle party fire volleys. .27) - Photo, black & white, 1977. The rifle party presents arms. .28) - Photo, black & white, 1977. Service at grave site. SGT Greg Francis-Wright 4th from right. .29) - Photo, black & white, 1977. Outside Litho’s proofing hut at Fortuna. WO1 Darby Munro stands in contemplation next to the collection of flowers.There are no personnel identified. royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho sqn

Part of a 43-photo record of the MMBW�s engineering feat in drilling a 12 inch pipe line up to 40 feet deep through rock hardened by volcanic action associated with geological fault that occurs along the line. The work took place from October 1979 to May 1980 on the southern boundary of Hubbard Reserve, North Ringwood. The collection was presented to the Ringwood Historical Research Group by J Clarke on 9th June 1980.E560 N23 Jan 1980 A43 Compressor unit in backyard of 39 Burlock Avenue

Part of a 43-photo record of the MMBW�s engineering feat in drilling a 12 inch pipe line up to 40 feet deep through rock hardened by volcanic action associated with geological fault that occurs along the line. The work took place from October 1979 to May 1980 on the southern boundary of Hubbard Reserve, North Ringwood. The collection was presented to the Ringwood Historical Research Group by J Clarke on 9th June 1980.E560 N22Jan 1980 A43 Work on mole boring pit in 39 Burlock Avenue backyard