This diorama is the introductory feature in the World War 2 Gallery - New Guinea and Islands area. A private soldier is shown in mixture of green and khaki uniforms, US style long leggings, long trousers with Thompson and Owen guns.The diorama shows the gradual introduction of green uniform elements and recognition of passive anti malaria measures (long sleeve and long pants)1:1 scale diorama showing soldier of Australian soldier of the 7th Division at the time of the advance into the Markham and Ramu Valleys, September 1943ramu, markham, shaggy ridge, 7th division, 9th division

This photo is of a group of Melbourne Legacy, Legatees proudly marching towards the Shrine of Remembrance on Anzac Day in 1998. That was the 75th Anniversary of the founding of Melbourne Legacy. They could have been marching behind a Legacy banner but it is not shown in these photos.A record of a Anzac Day march to commemorate the 75th Anniversary. The legatees chose to march together under the Legacy banner rather than with their comrades from their respective battalions. Colour photo x 4 of Legatees marching in the 1998 Anzac Day parade, Melbourne. Handwritten on reverse 'Legacy Events. Anzac Day March, April 1998. Legacy marching as a group.'anzac day, 75th anniversary

Photograph of Ballarat 41 in a restaurant building in Horsham, shows part of the side and other items in the foreground. Date unknown, but likely mid 1990's. Printed on Kodak paper. Photographer not shown. See 9598 for an earlier photograph.Yields information about the appearance of Ballarat 41 following closure and use in a restaurant in Horsham.Colour photograph with notes on rear.On rear in ink "Horsham / Ballarat car 41 at a restaurant in Horsham as a Smokers Lounge" and in bottom right hand corner, "William F Scott collection"trams, tramways, ballarat, horsham, disposal, tram 41

This is a set of six photographs of stereoscopic equipment and personnel at the Army Survey Regiment, Fortuna, Bendigo, c1950s to c1960s. The stereoscopes shown in photos .1P and .2P were used to stereoscopically view and interpret features in overlapping aerial photographs. The stereoscopic plotters shown in photos .3P and .4P were used to stereoscopically plot topographic detail from overlapping aerial photographs using a pantograph arm with pencil onto a controlled plotting sheet. The Ryker Model PL-3 Wernstedt-Mahan type stereoscopic plotter shown in photos .5P and .6P was used for precision contouring, planimetry and profiling. It was a comparatively simple stereoscopic mapping instrument designed to use ordinary contact prints of aerial photographs. It provides for plotting on a constant scale and approximate tilt correction but does not provide refinements such as correction for lens distortion. The plotter in Photo .6P does not have its pantograph arm attached. These plotters pre-date the Wild B9 and B8 stereo plotters introduced in the 1960s.This is a set of six photographs of stereoscopic equipment and personnel at the Army Survey Regiment, Fortuna, Bendigo, c1950s to c1960s. Black and white photos are on photographic paper and were scanned at 300 dpi. .1) - Photo, black & white, c1950s to c1960s, Universal Stereoscope, unidentified technician. .2) - Photo, black & white, c1950s to c1960s, Old Delft Scanning Stereoscopes, unidentified technicians. .3) - Photo, black & white, c1950s to c1960s, Unidentified stereoscopic plotters and technicians. .4) - Photo, black & white, c1950s to c1960s, Unidentified stereoscopic plotter, CPL Bill Shapcott. .5) and .6) - Photo, black & white, c1950s to c1960s, Ryker Model PL-3 stereoscopic plotter.Photo .4P is annotated on back - ‘Bill Shapcott (CPL)’royal australian survey corps, army svy regt, rasvy, army survey regiment, fortuna, asr, air survey, photogrammetry

Typed below photograph, "The Ringwood miners cottage - 18873. Formerly at no.367 Maroondah Highway opposite Civic Centre. Shown during dismantling after iron roof taken off to reveal original hand split wooden shingles. April 1975".

3 copies of Black and White Photograph of Band marching through main street of Ringwood. Written below photograph, '1953. Coronation Procession led by Citizens Band.' Backing sheet reads, 'Mail 11/6/53. Coronation procession at Ringwood led by Ringwood Citizens Band. The March is shown from the Fire Station to the Town Hall'

Paper poster promoting the new invention, A Gatling Gun'. Exhibited at the International Inventions Exhibition on the 16 May 1885 in South Kensington London.Several versions of the Gun are shown: The Gatling Gun item 3 10 Barrel Gatling Gun with Acck's positive feed Item 4 Rapid firing Nondenfekk shell Gun item 5 The Holchhler Gun item 6 The Gardner Gun

A book of photographs of paintings of the waterfalls of Victoria painted by Dacre Smyth.A book of photographs of paintings of the waterfalls of Victoria painted by Dacre Smyth. Each painting has the name of the waterfall, the date the painting was painted and a short poem accompanying the photograph. Commodore Dacre Henry Deudraeth Smyth, AO was a senior officer in the Royal Australian Navy, an artist and a poet. He joined the RAN in 1940, and participated in the D-Day landings and the Battle of the Coral Sea before retiring as a commodore in 1978. He served as Deputy Chairman of the Trustees of Melbourne's Shrine of Remembrance and was a Life Governor of the Shrine. He became well known after his retirement for landscape and seascape painting, publishing fourteen books containing his paintings and poems. He married Jennifer Haggard in 1952, and had four daughters and a son. He died in 2008.Hardcover. Front dust cover has a photograph of a painting of Erskine Falls painted by the author. Back cover has 4 photographs of paintings of Wannon and Nigretta Falls in summer and winter. Inside cover of book, both back and front have a map of Victoria with various towns shown and the location of all the waterfalls in Victoria.Signature of the author and painter, Dacre Smyth. Artist's Acknowledgements / I am most grateful to all who helped in the production of this book:- / Alan Copeland / Allan Tuite and staff at Crystal Offset Printers for the production and printing of this book / Photography Ralph Petty / Colour Separations front & back cover Scanagraphix & Image Scan / Binding J.P. Bookbinderswaterfalls, victoria, melbourne, paintings, poem, poetry, photograph, dacre henry deudraeth smyth, royal australian navy, d-day landings, battle of the coral sea, shrine of remembrance, jennifer haggard

Railways Collection - Article from Pages 160-161 of The Australian Railway Historical Society November 1956 Bulletin No. 229. There is a photo of opening day of the Port Darwin -Pine Creek Railway on 1.10.1889. An A Class train is shown. Page 161 has an article Victorian Rail Services now and then by John D. Keating.John D. Keatingrailways, bendigo to melbourne, opening day of the port darwin -pine creek railway

Bendigo Advertiser ''The way we were'' from Friday, May 27, 2005. A sign of the times: Lake Eppalock is shown during is heyday in this picture taken in 1976 at the front of the Bendigo Yacht Club, when the water was 30 metres from the clubhouse and the club members enjoyed prime conditions at the popular water resort.newspaper, bendigo advertiser, the way we were

The Department of Crown Lands and Survey (1857-1983) was responsible for the administration of survey and mapping and the sale, occupation and management of crown land throughout its existence. This aerial photograph shows parts of Brighton and Brighton East and was taken circa 1965-71.brighton, department of crown lands and survey, aerial photograph, bayside, port phillip bay, map, cartographic material, brighton east, dendy park, dendy street, centre road, nepean highway, south road, brighton golf course, golf

The Victorian Scout was a monthly magazine produced by the Victorian Branch of the Australian Scout Association.Photographic copy of the cover of the ‘The Victorian Scout’, depicting a Scout opening a door for Prince Phillip. The Scout in the photograph is George Porter, a 1st Kew Scout, who is shown saluting the Prince. ‘The Victorian Scout’ was a monthly magazine for scout leaders. During the Royal Visit of 1956, Scouts were selected to undertake official duties.The Victorian Scout / Melbourne, December, 1956 1st kew scouts, royal visit 1956 (melbourne), scout salutes prince phillip

Series of 9 black and white photographs of the construction of the new bus depot at Doncaster c1964. Items .1 to .9 show the earthworks, nearby factories and skylines. The style of the equipment used at the time is shown. Has a Craven A billboard. Items 10 and 11 are two sheets of paper giving details and some captions for the photographs.trams, tramways, buses, doncaster depot, construction, contracts

Louise Hearman used the Norla Dome and painted a mural which had taken her around a year to complete. The exhibition called Elephant Room was shown from May 1988. The work was vandalised in June 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white flyer with dual lengthways ribbings on the back side, possibly indicative of an intent to fold the flyer in three.The Elephant Room You are invited into the dome at the “Mission to Seamen” building, no. 717 Flinders St (ext), painted by Louise Hearman. Opening night Thurs May 28th 6 pm - 9 pm Visiting hours 11am -6 pm Tues to Sun from May 29th to June 11th Or by appointment ph (03) 328 1400 a.h. Sponsored by: Australian Council, Crown Hire, Art Stretchers Oliver-Davey Glass and Box Archer Emery.cultural events, exhibitions, paintings, artists, norla dome, 1988, louise hearman, elephant room, flinders street, melbourne

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white copy of a newspaper article, printed on A4 paper.The sky’s the limit for modern Michelangelo Because it was there . . . Melbourne artist Louise Hearman in the domed gymnasium of the Mission to Seamen - Picture: ROSS DUNCAN THE dilapidated pool halls of Melbourne’s Mission to Seamen are an unlikely setting for a budding Michelangelo. But when Louise Hearman came across the one-time mission gymnasium she could not resist the urge to create a fresco. It did, however, take a little persuading for the Anglican Church, which still owns and operates a mission in the 61-year-old building, to agreee to house a minor Sistine Chapel on their premises. A year of labour later, Hearman has had no complaints about the great swirling sky or huge oil paintings which now adorn the empty 11-sided room. Instead she is constantly visited by old sailors and passers-by who are thrilled to discover the unusual architecture and artwork. “When peoiple come here it’s a real discovery. It’s something they find for themselves,” she said. Her pictures are neither religious nor symbolic, merely outpourings to create an atmosphere. “THere are lots of things I’d like to say but I’m not saying them in my paintings. “There are no messages, they don’t have any political statement. Life was a little more comfortable for Hearman than her renaissance predecessors. After struggling with cumbersome scaffolding to reach her “canvas” she discovered the modern wonders of the scissor lift. She does not look on the work as a huge achievement. However, it may all be for nought. Unless money is spent to restore the building the paintings she has created will crumble and die - Deborah Stone The Australian Tuesday 10 May 1988louise hearman, elephant room, norla dome, exhibitions, 1988, melbourne, flinders street, ross duncan, cultural events

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.louise hearman, exhibitions, 1988, norla dome, flinders street, cultural events, melbourne, elephant room, ian hunter

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.It’s Louise’s masterpiece, come heaven, hell or high water Report: SARAH TURNER PICTURE: LEIGH HENNINGHAM When her Little Bourke St studio was pulled down to make way for a carpark, artist Louise Hearman, above, contacted The Seamen’s Mission in Flinders St to see whether she could use their cottage. They agree. But neither knew what it was going to lead to. When Hearman saw ‘the Elephant Room’ at the mission, a big domed room, she felt she “just had to do something with it”. She applied for and was granted a $3250 grant from the Australia Council, with which she was able to buy the necessary scaffold and paint, and then set about transforming the room. Now, a year later, her masterpiece is complete. Hearman emphasised the the mural doesn’t represent “heaven and hell”. Rather, she said, “people should make their own interpretations”. She said it was “not particularly heaven and hell, it’s not particularly anything”. And there is “no narrative” to the mural. It “just developed with the building”, out of whatever images and feeling Hearman had at the time. Sadly though, Hearman said the mural was likely to fall off the walls and domed ceiling unless the room was waterproofed - water damage is a serious problem at the mission. louise hearman, norla dome, exhibitions, 1988, elephant room, flinders street, melbourne, leigh henningham, cultural events

Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time. Vogue Living published an article about the artwork in the Dome. This is one of the few colour images of the artwork.Laminated A4 colour photograph published in Vogue Living in November 1987Vogue Living November 1987 135cultural events, exhibitions, paintings, artists, norla dome, 1988, louise hearman, elephant room, flinders street, melbourne

This photograph of Greensborough Station was taken in 2013 to show changes over 40 years, based on Ron Reynold’s sketches in the 1973 publication “Greensborough and Greenhills” published by Cypress Books. The Station is shown from the same angle as a sketch in the book.Digital copy of colour photograph.greensborough and greenhills, greensborough station, ron reynolds

This piece was written just after the Melbourne Film Festival, where no Australian feature film was shown. It mourns the lack of support for the Australian film industry - Canada has been able to do it, why can't we use this as a model?Typewritten (c copy), pencil edits, 2nd copy typewritten (c copy), quarto, 3 pages225c. in pencil on the side. On back of last page, blue biro sketch - a fireplace?film industry, canadian film industry, australian film industry, john grierson, robin boyd, manuscript

Mining Scene Magdala-Cum-Moonlight Mine 1895. Main Lode at 1.200ft level looking North West. The Magdala Lode is a spurry mixture of Quartz Country Rock and Sulphides and was mined in bulk in large stopes as shown by photograph.Miner underground reaching up with candle to overhead quartz lode.stawell mining

List showing the destination blind or curtain arrangement of destinations on Geelong tramcars. Notes that it is black letters on a white material. Also lists the coloured route indicators and how they were shown on a box above the destination roll. Author unknown.Yields information about the arrangement of Geelong destination roll and the indicator lights.Typed document with handwritten notes on a quarto sheet of paper.tramways, geelong, tramcars, destination roll, destination indicators, lists

Jack Magee was the son of Thomas Megee and Jane Head (Thomas was most likely Jack's step-father), born at Carngham in 1883. He was a carrier, horse-breaker and horse doctor, and in this photograph he is shown with dogs used for rabbiting.Black and white copy of original photograph which shows a man standing in a horse-drawn cart, with a pack of dogs on the ground nearby.jack megee [born 1883]

This was a section of the coach road to Orbost in 1858. Also shown are two 2008 colour photographs of the same scene which were used in the before and after photograph 150 years Lakes Entrance 1858 to 2008 display held in 2008Black and white photograph of horse team pulling covered wagon across the bar at Lake Tyers which was a section of the coach road to Orbost at the time Lake Tyers Victoria. animals, transport, roads and streets

McLaughlin, Frederick Arthur Service number: 10307 Australian Imperial Force Ranks held: Sapper, 2nd Corporal Service: Australian Imperial Force Unit: 10th Field Company, Australian Engineers Recommended for Military Medal, 13 September 1918 'Distinguished himself by gallantry and devotion to duty in bringing up material for a bridge urgently required East of Vaux. Lance Corporal McLaughlin was in charge of the wagons conveying material for this purpose and led the way over a road under heavy shell-fire in full view of the enemy. The determination and judgement shown by this N.C.O. in this, as in earlier operations, have shown him to be an excellent soldier'. first world war, world war one, wwi, australian imperial force, aif, el dorado, eldorado, soldiers, men

A black and white film about Legacy camps, that was first shown at Legacy Club Night, 24th June 1965, with 200 people present. Last shown at Legacy Somers Camp, 14th April 1967, with 120 present. It is 23 min long and documents the routine and activities of a typical weekend at Somers, ending with a speech by Melbourne Legacy President I.W Anderson, who was President in 1964. Commentary Geoff McComas, Photography Garry Jones. This film has been digitised to preserve its content. Melbourne Legacy gratefully acknowledges the support of the Victorian Government and Public Record Office Victoria for making this possible.Rare footage of activities run by Melbourne Legacy for boys post WWII which indicates how many children Legacy cared for both in Victoria and nationally and shows the dedication of Legatees in providing this careGreen circular tin containing 10 inch reel in regular 8 mm film. B/W and sound. Tin has cover with details of film inside, including title, running time, and some credits. Inside the tin cover there is a place of showing list, starting at 24th of June 1965 at Legacy House Club Night.Top of tin has cover with the following: MELBOURNE LEGACY / “LEGACY HOUSE” / 293 Swanston Street, Melbourne, C.1 FILM / “A WEEKEND AT SOMERS” / Black and White - Running Time 20 mins. Commentary by Geoff. McComas / Produced by B.C.J.P Return to Executive Officer “Service to Widows of Ex-Servicemen and their Children”somers camp, junior legatees