Women’s magazines just after WWII played a “reflecting role,” meaning they cooperated with government agendas while still including topics of readers’ interests Women’s employment rate had skyrocketed during WWII. However, even though the number of women working outside the home grew rapidly most of them were still engaged entirely in homemaking. Therefore women’s magazines centered mostly on the stresses and shortages of wartime. Articles as well as advertisements presented information on “product rationing, tips on keeping the family healthy, guidelines for thrifty shopping and advice on how to look good through it all.This is an example of an English women's magazine published post WW11.It gives practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests.A 64 pp magazine, titled Woman and Home and Good Needlework Magazine. On the front cover is a coloured drawing of a fashionably dressed and made-up woman with red hair and holding a bunch of similarly coloured flowers (gerberas?) At the bottom left are knitted baby clothes - pattern inside - as well as a man and woman wearing fashionable clothing - suggesting patterns are inside the magazine. The magazine cost 1/6 and is dated October 1951.magazine-woman-and-home

It’s hard to believe, as look at Alistair Knox Park, that this whole area was a tip in the 1960s. Although now valued as a natural attraction, the hills and lake are human made, with the hills built on mounds of rubbish. School children planted many of the trees. Many of the large eucalypt trees are remanent of the original bushland. The park has a National Trust Landscape Classification. It was close to this location that the Eltham Obelsik was originally located in 1919 and had to be relocated when roadworks were undertaken to widen the intersection. The park is named for Knox who was a local designer, builder and advocate for an alternative lifestyle, best known for use of mudbricks. Tomorrow's history documented todayeltham, jim connor collection, main road, eltham gateway, alistair knox park

The Armstrong Cannons were originally placed at Fort Gellibrand, located at the southernmost tip of the Williamstown peninsula. The Fort was developed during the 1850s as part of a defensive system for the city and port of Melbourne. The importance of the Fort batteries declined from the 1890s, when they were effectively replaced by new facilities at Queenscliff and Point Nepean, but they were still used for gunnery practice. Local residents, through the Williamstown Town Council, complained to the Acting Minister for Defence that the concussion from the guns damaged windows, walls and foundations of buildings. The Armstrong Cannons were moved from Fort Gellibrand to the Gardens in 1906. A primary source of evidence of the cannons being in the Gardens. The cannons are remembered fondly as play equipment for the local children. Many tales have been told of climbing over them and pretending to be shot out of them A collection of seven black and white photographs documenting the removal of the cannons from the Gardens Photo 1 (a) Black and white landscape image. View is looking through the main gates looking at the front of the truck, which has the name Walter Wright across the front bumper, the crane and canon. The gates and fence are painted a light colour, probably white. Photo 2 (b) Black and white landscape image. Back of loader with cannon on it. Man standing on top of the cannon bending over either tying or untying ropes. Trunk of a palm tree is on the left side of the photo with a top of a palm tree in the background. Photo 3 (c) Black and portrait white image. A cannon being loaded by the crane on to trailer. Palm tree is in the background and fronds from a palm tree can be seen in the right top corner. Photo 4 (d) Black and white landscape image. Side on view of a cannon on the truck parked outside the grounds of the Gardens. The logo of the name of the trucking company is on the door of the truck above the words ‘WALTER H WRIGHT / TRANSPORT PTY LTD / S SCHULZ ST WEST MELB’. A second cannon can be seen in the background. A bus is in the background on the middle right side of the image. Photo 5 (e) Black and white landscape image. Truck with cannon on the back leaving the ground of the Gardens. Tree on the right side of the image and power pole is behind the truck. The logo of the name of the trucking company is on the door of the truck above the words ‘WALTER H WRIGHT / TRANSPORT PTY LTD / S SCHULZ ST WEST MELB’. ‘WALTER WRIGHT’ is on the front bumper Photo 6 (f) Black and white landscape image. Cannon tied down on the back of the truck as it is being driven across the street. Three houses in the background and two cars, one is a Volkswagen Photo 7 (g) Black and white landscape image. Cannon on the back of the truck which is parked over the street from the Gardens. Three houses are in the background. Two trees bare of leaves. The front of a car in in the foreground – it has a sun visor and the steering wheel is a light colour.armstrong cannons, williamstown botanic gardens, hobsons bay city council, 1970, walter h wright / transport pty ltd

Bass Strait passenger ship Nairana. Built for Bass Strait ferry operator Huddart Parker & Co. Ltd. of Melbourne during World War One, the Nairana was requisitioned by the Royal Navy and completed as a seaplane carrier, HMS Nairana. Serving from 1917 to 1920 participating in the capture of Archangel during the Bolshevik Revolution. After 1920 she was decommissioned as a seaplane carrier and returned to her Australian owners crossing Bass Strait until she was laid up in 1948. Just off Port Phillip Heads on April 12 1936, a strong wave struck the Nairana, tipping her over for two minutes before she righted herself again. During the horrifying two minutes, four people were drowned, and eight people were injured. The ship was reportedly carrying roughly one tonne of concrete in the hull when she tipped. Reports from the local papers said that it was a tidal wave meanwhile others were saying it was either an earthquake or a total lie. A later paper said that the ship had been caught in a rip at the mouth of the bay, causing the tragedy. The S.S Nairana, was sold for £4,000 (over $170,200 in today’s money!) in 1951 after two years of being stranded on the beach at Port Melbourne, when the moorings broke one night during a storm and drifted ashore, causing her to wreck.Items associated with the TSS/HMS Nairana in its military and civilian roles and items relating to Capt. JF Spence, navigation Officer and possibly later the captain who sailed with the Nairana out of Plymouth after WWI. .01 Barometer and Clock from Dining Saloon .02 Commemorative plaque describing the HMS Nairana's WWI service with timber mount for plaque with information sheet attached. .03 Clock Key .04 Two 2 Log books owned by Capt. Spence containing the navigation calculations for the journey from Plymouth to Melbourne. .05 Huddart Parker hat badge [Capt. JF Spence].Barometer and Clock from dining saloon, TSS Nairana 1917 - 1951 Clock Key - 4 50-No9 Hat badge - HPtss nairana, wwi, bass strait, huddart parker, capt. spence

This type of butter mould was used by rural families in the Kiewa Valley to fashion/shape home/farm made butter either for domestic use or to sell locally.Kiewa Valley was a dairying district with many farms in remote locations especially before the State Electricity Commission of Victoria built the Kiewa Hydro Electric Scheme from the 1940's. This pair of butter pats have been crafted from wood. One has one side with grooves running from the handle to the tip of the rectangle. the other side is smooth. These grooves would stop the wet butter from clinging to the pat. The top side of the pat has been bevelled. The second pat is longer and wider without grooves along the handle. This one also has 3 arrows on the handle pointing down towards the handle end and isn't bevelled. 3 arrows.kiewa valley. butter pat. farm produce. domestic produce. dairy. farms

Possibly made by the donor.This object is an example of trench art. .1 The lamp base consists of a chrome plated deactivated mortar bomb attached to a turned brown wooden base. A globe and switch socket are attached to the tip of the bomb. An electrical cord with power plug is threaded through the base of the bomb. .2 The lampshade is made of stiffened brown paper laced to a wire frame with dark brown cord. Handpainted coloured flowers decorate the outer surface of the shade. The shade is attached to the globe via a wire clamp.On the base of the mortar bomb: ' ?LB, IM, MF, 1940'ornaments, lighting - electrical, trench art, souvenir

This spoon, made by William Page & Co., is electroplated nickel-silver and was recovered during the late 1960s to early 1970s from an unnamed shipwreck along the coast of Victoria. The shipwrecks in the area range from around the 1840s to the early 1930s. The spoon is part of the John Chance Collection. This spoon is likely to have been recovered be from the wreck of the Loch Ard (1873-1878) as other cutlery in the Flagstaff Hill’s Shipwreck Collection made by William Page was also recovered from the Loch Ard. The ship’s Manifest included a large quantity of cutlery. Also, other objects in the John Chance Collection were also recovered from wreck of the Loch Ard. In the mid-1800s electroplated cutlery became a popular substitute for the traditional but more costly sterling silver pieces. The ‘new’ cutlery was made from a more common base metal, such as nickel or a nickel alloy, then electroplated (coated) with a very thin layer of silver. The eating utensils looked like the expensive, pure silver version but eventually, through use and wear, the base metal would show. Some producers warranted their electroplated silver to be ‘white throughout’. WILLIAM PAGE & CO., BIRMINGHAM, ENGLAND - Although the electroplated cutlery of William Page & Co. was made in Birmingham, it does not include the embossed Birmingham Assay’s mark of an ‘anchor’ because the metal used for the spoons is not silver. William Page used various Maker’s Marks on his cutlery. The pattern of five embossed marks on this spoon is a typical example, with the embossed sunken crown containing ‘W P’ being the first in the column of symbols. - ‘W P’, within raised diamond outline, within sunken crown - ‘Cross above Triangle’ symbol within sunken oval - ‘Maltese Cross’ symbol within sunken, six-sided shape - ‘crab-like’ symbol within sunken oval - ‘R D’ within sunken diamond William Page established his business in 1834, according to the text around a printed Trademark. The firm William Page & Co. began electroplating in 1855, and from 1880 it operated from Cranemore Street, Cattle’s Grove and also at 55 Albion St, Birmingham. The firm registered a new Trademark [‘W P’ within a diamond boarder within a sunken diamond] in 1897; previously the Mark were the initials WP within a crown, but the British legislation prohibited the use of a ‘crown’ mark on electroplated ware in 1895. In 1936 the firm became William Page & Co. Ltd and became a supplier of spoons to the British Government in 1938, marking its products with the ‘broad arrow’ symbol. The firm also traded with the brand names Armour, Asrista, Bolivian Silver, Roman Silver, Roumanian Silver, Silverite and Trevor Plate. Although this spoon is not linked to a particular shipwreck, it is very likely to have come from the wreck of the Loch Ard; the ship’s Manifest includes a large quantity of cutlery. Regardless, it is recognised as being historically significant as an example of cutlery carried onboard a ship as either personal belongings or cargo and brought into Colonial Victoria in the 19th to early 20th century; through this we have added opportunity to interpret Victoria’s social and historical themes of those times. The spoon also has significance for its connection with many similar William Page pieces of cutlery in our collection that were recovered from the wreck of the sailing ship Loch Ard (1873-1878). William Page & Co. of Birmingham is one of the renowned 19th century manufacturers and electroplaters and was supplier of spoons to the British Government in 1938. The spoon has added significance, as it was recovered by John Chance, a diver of wrecks, including the Loch Ard, in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Spoon; teaspoon, electroplate nickel-silver, discoloured to green and red-brown in places. Fiddle design. Bowl has indents and holes. Five embossed Maker’s Marks on back of handle, arranged in a column from tip towards bowl. Made by William Page and Co., Birmingham. The spoon no longer has its silver plating. The surface has encrustations. Bowl has nicks, indents and holes. Stem is very bent at the shoulder. Discoloured to green and red-brown in places. Embossed Maker Marks - ‘W P’, within raised diamond outline, within sunken crown - ‘Cross above Triangle’ symbol within sunken oval - ‘Maltese Cross’ symbol within sunken, six-sided shape - ‘crab-like’ symbol within sunken oval - ‘R D’ within sunken diamondflagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, loch ard, cutlery, flatware, silverware, tableware, eating utensils, dining, spoon, electroplated cutlery, william page & co, william page & co. ltd., birmingham plate, silversmith, antique, vintage, fiddle design, fiddle pattern, teaspoon

The Skylark 4, the final in the Slingsby Skylark series, dates from 1961. The design heralded a trend towards the use of plastics in the construction of gliders. Slingsby incorporated GRP (glass reinforced plastic) panels to achieve a streamlined fuselage nose and cockpit area while retaining the more traditional wood techniques for the rest of the aircraft. Another notable feature was the smooth wing surface that was obtained using a Gaboon ply skin across the ribs. Best glide performance of 1:33 was found to be comparable with the early full GRP glider designs. The Museum’s example (VH-GTB – C/N 1382) was built in 1963 and originally owned by Chuck Bentson of the UK. It was brought to Australia in 1967 by Jeremy Picket-Heaps and flown at various places including Benalla, Cooma and Gundaroo. In 1970 the glider was transferred to the New England Soaring Club. Many flights were made from Armidale and Bellata in Northern New South Wales. On one occasion, the glider was kept aloft for 8 hours 45 minutes and on another the pilot took it around a 500 kilometre triangle in nearly 8 hours. In 1980 it was sold to Ralph (“Feathers”) Crompton and was flown extensively in South Australia until 1988. The final owner before the glider was given to the Museum in 2004 was Ross Dutton of Melbourne. The last recorded flight occurred in 1992. The glider at that point had logged over 2000 hours flying time from about 2000 launches. The airframe is currently being restored to flying condition. Technically this aircraft represents the state of the art at the stage that sailplane design was changing from traditional wood construction to composites (GRP) The Slingsby Skylark 4 is high wing single seat sailplane of mainly wooden construction with plywood and fabric covering. However, the cockpit and forward part of the fuselage consists of glass reinforced plastic which was innovative at the time that the type was designed. The cockpit provides for a semi reclining position for the pilot protected with a full Perspex canopy. The wings are made up of a centre section with constant chord and tapered wing tips. The aircraft has a conventional arrangement for the tail stabiliser / control surfaces. The sailplane bears construction number 1382 and is registered in Australia as VH-GTBaustralian gliding, glider, sailplane, skylark, slingsby, bentson, picket-heaps, crompton, new england soaring club, dutton

Rev. E. H. Chapple (1866 - 1956) was educated at the University of Melbourne, and was ordained a Wesleyan minister. He was admitted Presbyterian in 1904. Matte, black and white 3/4 studio portrait of Rev. Edward Henry Chapple who is standing and looking directly at the camera. He is dressed in an academic gown over his clerical suit and collar and is holding a rolled document in his left had. The photograph has a grey which has a gold border and a black and gold script inscription. It is tipped onto brown card which has some pencil handwriting and an ink handwritten dedication at the bottom right.Front: "REV. E. H. CHAPPLE - B.A. MINISTER ST. ANDREWS 1913 - 1934" Back: "For Victor Taken 1930"rev e h chapple ba, st andrew's presbyterian church oakleigh, rev e h chapple ba presbyterian minister

While the first successful land sales in Boroondara occurred in Hawthorn in 1843, and Kew in 1845, these areas were to be without local pounds until April 1858, when the Governor of Victoria, in accordance with Act 18 Victoria No 30, was pleased to direct the establishment of a Pound at Glass’s Creek on that part of land bounded by the Kilby Road, Burke Road and High Street. While the Governor was required to proclaim the establishment of a pound, the appointment of a poundkeeper was the responsibility of the Justices of the Peace in the local Court of Petty Sessions. The Pound took its name from the most distinctive natural feature of the area, Glass’s Creek, named after the early pastoralist Thomas Glass.The register is of historic significance as an indicator of suburban life in the second half of the 19th Century. It shows how farming and city life on the urban fringe were intimately connected. It is also significant to the early history of Hawthorn and Kew, who both claimed the Pound following their separation from the Boroondara Roads Board in 1861."Kew Pound Book"glass creek pound (kew), animal pound, dog pound, kew pound, j. smith, john oakes, samuel b. cash, edward s. delaney, emma oswin, samuel cash

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.DEPARTMENT OF PUBLIC WORKS, N.S.W. RIVER MURRAY WATERS SCHEME. HUME RESERVOIR. 32. Earth Embankment, Victoria. Looking down on the earth embankment and core wall. The earth is conveyed to the bank by rail, tipped out and then put in place by wheeled scoops, the horses and wheels treading and rolling the material into a very compact form while hoses play water on the mass to keep it moist. The concrete pillar with Tail Tower, and North Wing Wall, look very small in the distance. August 1927.hume reservoir australia, river murray waters scheme, hume reservoir construction

This specimen was originally identified as a young Black-Cuckoo-shrike and catalogued as such in the Burke Museum original catalogue. Analysis conducted as part of a conservation treatment in 2024 reclassified the specimen as a white-bellied cuckooshrike. The white-bellied cuckooshrike inhabits regions across Australia, Indonesia, Papua New Guinea, and the Solomon Islands. In Australia, it is distributed widely, occurring in tropical northern areas as well as in the eastern parts of the country, including northern Western Australia, the Northern Territory, Queensland, New South Wales, Victoria, and southeastern South Australia. The species is prevalent throughout Papua New Guinea and the Solomon Islands, but less frequently observed in Indonesia. Within Indonesia, it is most commonly found in the northern Moluccas, with occasional sightings in Eastern Wallacea. Today, the Black-faced Cuckoo-shrike has a protected status in Australia, under the National Parks and Wildlife Act, 1974. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This specimen is a young White-bellied cuckooshrike which stands perched on a wooden mount. It has pale grey colouring which is darker on the rear. The wings are tipped with grey-brown feathers and the same colour feathers also appear on the bird's tale. The specimen has dark limbs and bill and this specimen is provided with two glass eyes which are dark in colouring. The bird has a more creamy pale grey on the throat and stomach. It has a black facial mask which is restricted to an eye stripe. 21a / Black Faced Graculus / See catalogue page 11taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, cuckoo, shrike, common birds, australian birds, australian bird, white-bellied cuckooshrike

This is part of a crosscut saw raker/jointer/guage set used to bend the tip of each cutter tooth for cross cut logging saws. The logging saws used in the early 1900's for the clearing of forests required constant sharpening of their "cutting teeth". The logging of forested areas during these times was very much a "hands on" method of either one or two men by the use of saw or hand axe. This item was used by the surveyors commissioned by The S.E.C. Victoria Kiewa Hydro Electricity Scheme project mapping the relevant Alpine region. Chain saws, chain and ball(clearing) and bulldozing methods came in the mid 1900's.This particular saw sharpening method was used by surveyors laying down boundaries for the S.E.C. Victoria Hydro Electricity Scheme (1920's). This item was given to a local Kiewa Valley lad who accompanied the initial surveyors. The lad was responsible for the tendering and feeding of the surveyors "pack horses". Surveys work during this period and in these dense mountainous terrain of the Victorian Alps was both exhausting and hazardous. Overnight accommodation at various log cabins was not always possible and swag/tent alternative was the "fall back".This cast iron Spring Setting tool has a main body of angle iron contours with one end tappered into a flat circular extension with a slit (3/32" wide) running from the top to nearly the centre(15mm). This slit is to allow the bending of each "cutter tooth" of the cross cut saw. The "bottom of this slit has a semi circular ending. Protruding from one side of the bar body, and close to the "slit" is a tounge like extension (wedge) to fasten the spring set tool into a tree stump. See KVHS 0090 (A) for its Raker/Jointer saw sharpening guage set partner. Also see KVHS 0090 (C) for the associated wrench. On one side of the bar "DISSTON U.S.A."hand tool, saw, sharpening method, tree felling

.1) George Edgar Godlip Yung seated on a swing and two children, possibly grandchildren Alice (b1914) and Grace (b1915) Watson. Note bridge in background so perhaps Peterborough? .2) A family outing to the beach on a cold, windy day. Uncle Ted was Charles Edward Smith, an Anglican minister and the son of George Henry and Emma (b Keys) Smith and a sister of Clara Emma Yung (b Smith). On the left of the photo is George Edgar Yung, his brother-in-law and most likely the lady on the right is his sister Clara. They are rugged up for the day. Note the steel tips on 'Clara's shoes. Two black and white photographs at Warrnambool Beach..1) G E Yung ;( crossed out - Alice and Grace) Watson .2) Uncle Ted and partywarrnambool, warrnambool beach, charles edward smith, clara emma yung, george edgar godlip yung, peterborough

A silver plated case to hold, and protect from crushing, cigarettes in a coat pocket. A cigarette is a narrow cylinder containing tobacco, that is rolled into thin paper for smoking. "Tailor-made" in relation to cigarettes means cigarettes that have been mass-produced in a factory and usually have a filter tip inserted at the mouth piece. 'Hand-rolled' cigarettes or 'roll-your-own'. were made by the person themselves by rolling thin paper around a pinch of loose cut tobacco. After World War 2 1914- 1918 tailor made cigarettes were mass produced in large factories and were inexpensive and easy to obtain world wide. Residents of City of Moorabbin used a cigarette case like this to carry their tailor made cigarettes in their coat pocketsc1950 A silver plated cigarette case with spring hinge and metal strip inside case that holds cigarettes in place early settlers, market gardeners, silver smiths, jewellers, cigarettes, tailor made cigarettes, craven a cigarettes, phillip morris pty ltd, post world war 2 estates, moorabbin shire, bentleigh, mckinnon, highett, cheltenham,

The sculptural installation was a gift from the Portuguese government and presented to Warrnambool City Council. The sculptor, Jose Nuncio, completed the work in 1999, and it was inaugurated at Warrnambool in 2001. Prince Henry the Navigator founded a school of navigation in Sagres, Portugal. This led to navigation techniques that made the 15th century voyages of discovery possible. The vision of Prince Henry brought together ship builders, cartographers, instrument makers and mathematicians. Vasco de Gama rounded the southern tip of Africa and sailed across the Indian Ocean to India in 1496. This started a new era of trade and exploration, expanding the boundaries of the known world, and linking the east with west.Six colour photographs of a sculptural installation at Warrnambool. Busts of Vasco De Gama and Prince Henry the Navigator feature in the installation. Images also include two informative plaques containing information on De Gama and the Prince.warrnambool, exploration, navigator, de gama, prince henry the navigator, portugal, portuguese, david atkinson, john pandazopoulos

Framed photograph of Terry O'Donnell upon his retirement from the SEC Ballarat Tramways. Photo of Terry standing in front of a SEC tramcar, holding his cap and a controller handle with a sign on the front of the tram marking his years of service, wishing him good luck and other supportive phrases. The black and white photograph has been glued to a sheet of cardboard with the names of the members of the 'SHB & M" (???????) club along the side and the name of the President and Secretary on the top. A stained (brown) wooden frame with cardboard backing, tape and nails securing it to the frame has been used to secure the backing cardboard and photograph. Date of retirement unknown - c1960's? Images show the front and the rear damage associated with the object. Scan of copy negative added 4-5-2020 as image i3In light blue ink. Along the top are the names "F. Bowden Pres." and "A. Purdue Sec", along either side, the name of the fellow club members along the bottom edge "Presented to T. O'Donnell / as a mark of esteem by his Fellow Workers Ballarat Tramways / SHB & M. Club". In blue felt tip pen on rear "Ballarat Vintage Tramway"trams, tramways, retirements, ballarat

A Storm Glass and Thermometer such as this one would be used in predicting or forecasting the weather. Farmers used predictions they read from their Storm Glass to prepare for stormy weather or for choosing a good time for planting or harvesting their crops. This could mean to them the difference between a good year and a year without income. This design has been in use since the early 1800’s. According to Admiral Fitzroy (who studied the storm glass and wrote instructions on its use) the liquid in the glass changes composition and appearance according to the direction of the air moving around it. He advised the user to disturb the contents once or twice a year by tipping it upside down and shaking it gently. Item is a good example of a barometer/thermometer that would have been in most homes and farms from the late 19th century and early 20th century. This item would have been massed produced at the time therefore easily available and quite cheap to purchase making this particular item not very significant as not associated with a historic person or property or with a known manufacturer or date.Storm Glass and Thermometer, commonly called a 'Cottage Barometer', mounted on a rectangular dark rectangle of wood, top corners rounded. The Storm Glass (or weather glass, or chemical weather glass) is suspended in a long oval shaped hole in the wood on left side, held in place at top and at bottom with 2 metal bands secured by nails. The glass of this gauge is hand blown, sealed at the top with another layer of glass. The watery fluid in the storm glass is opaque brownish colour with dark particles floating in it. (Storm glasses were usually filled with a variation of a mix of camphor, distilled water, ethyl alcohol and silver nitrate.) The alcohol thermometer is mounted on the right side of the wood, bulb resting in a hollow, attached at top and near base by 2 thin metal strips, with clover-leaf shaped ends, nailed into place. Over the bulb is nailed a metal guard with 3 ventilation slits cut into it. On left of thermometer is a scale, stamped into wood, 30 below zero to 130 above zero, in 2 degree intervals. A border of 2 thin parallel lines, with remnants of light coloured paint, is around the block of wood. On the reverse side, a metal plate is nailed to the top with a mounting hole in it. Impressed sideways along edge of barometer is "STORMY" "CHANGE" "FAIR". Across the top of the thermometer is a fleur de leis in the wood, and above this it is stamped "FAHRENHEIT". On right of the thermometer, stamped into the wood, is "BLOOD/HEAT", "SUMR/HEAT", "TEMPE/RATE", "FREEZ/ING". On the back of the wood, at the base, are remnants of a white sticker with "...111.73". Carved into the wood is "HOLLAND / AV". flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, barometer, cottage barometer, storm glass, thermometer, chemical weather glass

These items were in the Ballarat School of Mines Museum, and when the museum was closed they were saved from the tip, and returned decades later. The Alafolo or afui are anthropomorphic clubs found across the island of Malaita. As war clubs, blows were struck with the edges of the club, which varied in length from under three to four feet. At least some of these clubs served a largely ceremonial function, particularly those rare examples with shell inlay. Malaitans war clubs are usually made of tooa, a reddish hardwood. Most finished clubs are submerged in mud (saltwater or fresh) for about a month, during which time they acquire a glossy black finish.Two native weapons, probably South Pacific in origin. .1) light coloured timber paddle with carving. Possibly Solomon Islands. .2) A dark coloured Alafolo made with heavy ironwood, with geometric designs from the Solomon Islands with stylized face, carved geometric design at top end; two carved rings with geometric design between them toward bottom end.ballarat school of mines, ballarat school of mines museum, ethnographic, paddle, club, ethnographic material, new number, solomon island, alafolo, malaita, weapons, new guinea

As one of Geelong's finest forwards, Lloyd Hagger was relatively tall and possessed the ability to take high-flying, spectacular finger-tip marks at chest height as he tumbled over packs. His accurate punt and drop kicks resulted in many goals for the team. He became well known for scoring many acute angle goals. A mobile performer who could kick effectively with either foot, he played with equal effectiveness at centre half-forward and full forward. His durability was remarkable. During his 12 seasons he only missed eight matches. He was never short of a word on the field. - Col Hutchinson GFC HistorianHand drawing on paper card. Drawing of a black cat with one paw holding on to it's bow. At the bottom of the sketch in blue pen states "SKETCH BY LLOYD HAGGER, 1925". Lloyd Hagger was the original artist behind the cats logo and a Geelong player."SKETCH BY LLYOD HAGGER, 1925"cats mascot, gfc black cat, lloyd hagger, geelong cats

This folder is contained in a plastic slip-cover and labelled 'Harold Hugh Jeffrey'. The folder itself is padded and covered with a grey suede-like material, featuring a velcro tab to keep it closed, with gold-tipped corners and the emblem of the Official Secretary to the Governor-General embossed in gold on the front. It opens to reveal on the right a laminated certificate appointing Hugh Jeffrey as a member of the Order of Australia, signed by Bill Hayden. On the left side is a slip pocket containing four items, A booklet entitled A Guide to the Wearing of Insignia, a booklet entitled Order of Australia, a pamphlet entitled Order of Australia and a booklet entitled Commonwealth of Australia Gazette Special: The Order of Australia Insignia Ordinance. 1 plastic folder with 3 booklets and 1 investiture letterHarold Hugh Jeffreyhugh jeffrey, awards

The Nankeen Kestrel, also known as the Australian Kestrel, is a common native to the open country's grasslands and farmlands, preferring agricultural areas. They are drawn to animal pests like mice, insects, small animals, reptiles, and birds. Due to the shape and ability of their tail feathers, which allows them to hoover over their prey, they do not rely on speed to catch their meal like most falcons in their family group. These birds are among the smallest raptors in the Falcon family, having well-known face characteristics and body shapes. The females of the species are distinguished by their darker patterns and red-brown (rufous) tones, as well as their larger size, whilst the males are more greyish. The yellow markings around the eyes and top of the beak, as well as the noticeable black dipped wings, distinguish each species. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Nankeen Kestrel is a small raptor in the Falcon family. It has a stockier appearance, with the upper parts of its body, such as the head and the tops of its wings, being a light red-brown (rufous) colour and the tips of its wings appearing dipped in black. The top of the beak and the eye rings are both yellow, and this bird's falcon appearance shows its inherent dark streak markings visible near the eyes and on the chest. The underparts are pale, with a tail feather that spreads out to help it hover and is ornamented with fine black decorations.20. / Unnamed / Catalogue page 5 / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, nankeen kestrel

The Belted Kingfisher is commonly seen near bodies of water or coasts in Canada, Alaska and the United States. During migration periods these birds may stray far from their usual habitat. Interestingly, the female of this species, as is the case for this specimen, is often larger than the male. They are also more brightly coloured. This species feed on amphibians, small crustaceans, insects, small mammals and reptiles. They lie await perched on a tree located close to water and remain there watching until they see their prey. When they have located their prey, the Belted Kingfisher plunges its head into the water and catches its food. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Belted Kingfisher stands upon a wooden perch with a light brown paper tag attached to leg. This specimen has pale cream/white and slate grey/blueplumage. The head and back are coloured the blue-grey while the neck and stomach are cream/white. The bird has a black ring around its upper chest. The stomach has a chestnut brown band which identifies this particular specimen as female. The bill is long and pointed and the eyes and legs black. The bird is small and stocky with a large head and a square-tipped tail.95.a / Belted / Kingfisher / Catalogue page, 25 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, kingfisher, small birds, belted kingfisher, king fisher, female bird

Information on the history of this knife and sheaf is not known. They were popular items for boys and young men to carry, especially when working in the bush or fishing. They are still in use today. These items have no known provenance and are useful for display only This is a belt knife, much rusted with a curved blade and a brown metal handle, silver-coloured at the top and end and brown-coloured with red and black bands near the end. The handle has a metal screw at the tip. The knife is in a leather sheaf or holder which is curved to suit the shape of the knife. It has stitching on the curved section with metal studs, two slots to enable the sheaf to be attached to a belt and a circular leather strop with a metal stud to hold the knife in place. The leather is rubbed. The belt may not originally have been for this knife.belt knife and sheaf, warrnambool

This container of 11 boxes of safety matches would have been a common item in a household during the first half of the 20th century and would have been used for the safe lighting of lamps, candles, room heating (fires), bath heaters, cigarettes, pipes etc. Safety matches came into use in the first half of the 19th century and the safety aspects have been improved after that time. Safety matches are still used today - for instance, when camping or in times of power failure. These matches are of interest as an example of household items in common use in the past. These are eleven boxes of safety matches (one box missing) wrapped in a buff-coloured paper cover with a label in red, blue and white colours with printing and an image of a dark-haired woman set against a white flame. Each box contains about 60 matches with a label similar to the one on the outside packaging. The matches are wooden with pink tips. The boxes have a rough surface on the side acting as a striking mechanism. The back of each box has a message containing some thoughts from thinkers and philosophers from the past.Ever-Brite Safety Matchesvintage lighting, safety matches, everbrite matches

38 Bn was raised in Bendigo in 1916. Post War it was the CMF Unit until 1967. The Mollison St Drill Hall was built by Contractor Mr. Midgley. First used Jan 1916. Shut down Circa 2002. The 38 Bn Colours are held within the RSL Military Museum, Bendigo.1. Photo of 4 Senior NCO's in battle dress in front of the Mollison Street Drill Hall. 38 Bn Northern Victorian Regiment. The four soldiers have .303 rifles. WO Burrell has the red sash of a Colour Sgt. His MM can be seen. 2. Photo of Regiment Colours 38 Northern Vic Regiment in front of Mollison St Drill Hall. Two Officers, Capt. Emonde holding Queens Colours - 4 Snr NCO's have rifles at the slope with ceremonial tips on their bayonets.1. On rear is written - Cenotaph party/ Warrant Officer 3 sets Guards. 2. On rear is written - '" ANZAC DAY" .38 bn, mollison st, drill hall, photographs

Two red covered auction catalogues with black printing for a sale on the 6th, 7th & 8th March 1984 at the Australian National Animal Health Laboratory, Geelong, Vic. For sale were Transportable Site Buildings, Main Office, Main Store, Fitters, Carpenters & Test Workshops, Construction Materials, General and Electrical Equipment, Fork Lifts, Motor Vehicles, Tip Trucks, Bobcat, Scaffolding and Large Quantities Brass, Copper & Black Pipe Fittings. J. H. Curnow & Son Pty. Ltd. Were the auctioneers.business, auctioneers, j h curnow & son pty ltd, ian dyett collection - auction catalogue - australian national animal health laboratory, john holland, j h curnow & son pty ltd, f c dyett, i m dyett, n f dyett, bolton bros pty ltd print

a: to Mr & Mrs Bush from R? Andrews, Nicholson St; Ist Oct. 1891 b: to 'my dear Nina' from Nellie Bath, Methodist Ladies' College; Feb 22nd, 1889 c; to 'My very dear Nina' from ?? Nellie Bush (by handwriting?), Wesleyan Parsonage; July 14th, 1888 d: to 'My dear Nina' from Jane? Bush, 'Lansdowne'; Jan 14th, 1891 e: to Mrs S. A. Bush from J. Tipping, St. John's Church, Bairnsdale. 7th June, 1899.person, individual, bush collection - personal

The Norman Oliver collection. Norman Oliver was three times Mayor of Bendigo - 1950-51, 1964-65, 1970-71. Nineteen typed pages dated 9 May 1951 at top of front page. In the format he used for his talks on 3BO 'The Mayor Speaks'. Topics include : complaints regarding the Quarry Hill tip, traffic problems, Bendigo and District Ambulance Service, Public transport, the Beating of the Bounds, Jubilee of the Federal Parliament, the Library, purchase of new plant, land reclamation, and the Mayoress' Appeal.bendigo, council, speech notes, norman joseph oliver , councillor norman oliver. 3bo 'the mayor speaks'. mayor.

The Norman Oliver collection. Norman Oliver was three times Mayor of Bendigo - 1950-51, 1964-65, 1970-71. Typed pages of undated notes for a speech numbered, p. 2-18. In the format he used for his talks on 3BO 'The Mayor Speaks'. First page is missing. Topics are : Parking issues, the Aerodrome, Tipping rubbish, Town Hall renovations, Government grants, The sale yards, Crown reservations, Social notes, Kerang Library. Undated, however there is a reference to the coming? Year 1951 on p. 17 of the notes.bendigo, council, speech notes, norman joseph oliver , norman oliver. mayor of bendigo. 3bo