Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important player in the early recording industry. The first phonograph cylinders were manufactured in 1888, followed by Edison's foundation of the Edison Phonograph Company in the same year. The recorded wax cylinders, later replaced by Blue Amberol cylinders, and vertical-cut Diamond Discs, were manufactured by Edison's National Phonograph Company from 1896 on, reorganized as Thomas A. Edison, Inc. in 1911. Until 1910 the recordings did not carry the names of the artists. The company began to lag behind its rivals in the 1920s, both technically and in the popularity of its artists, and halted production of recordings in 1929. Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Start of the Recording Industry: In 1887, Edison turned his attention back to improving the phonograph and the phonograph cylinder. The following year, the Edison company introduced the ”Perfected Phonograph”. Edison introduced wax cylinders approximately 4+1⁄4 inches (11 cm) long and 2+1⁄4 inches (5.7 cm) in external diameter, which became the industry standard. They had a maximum playing time of about 3 minutes at 120 RPM, but around the turn of the century the standard speed was increased to (first 144) and then 160 RPM to improve clarity and volume, reducing the maximum to about 2 minutes and 15 seconds. Several experimental wax cylinder recordings of music and speech made in 1888 still exist. The wax entertainment cylinder made its commercial debut in 1889 at first, the only customers were entrepreneurs who installed nickel-in-the-slot phonographs in amusement arcades, saloons and other public places. At that time, a phonograph cost the equivalent of several months' wages for the average worker and was driven by an electric motor powered by hazardous, high-maintenance wet cell batteries. After more affordable spring-motor-driven phonographs designed for home use were introduced in 1895, the industry of producing recorded entertainment cylinders for sale to the general public began in earnest. Blank records were an important part of the business early on. Most phonographs had or could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a "talking machine", was in business for recording dictation. Attachments were added to facilitate starting, stopping, and skipping back the recording for dictation and playback by stenographers. The business phonograph eventually evolved into a separate device from the home entertainment phonograph. Edison's brand of business phonograph was called the Ediphone. The collection of three phonograph cylinders are an example of early recorded music use for domestic entertainment. They are significant as they represent the beginnings of the modern recording industry.Cardboard tube-shaped gramophone cylinder box with lid. The printed label on the outside of the box advertises the maker and patent details. The Catalogue Number and Title are either printed or hand written on the cylinder’s lid. This cylinder contained Record no. 13619, the recording “Poor old England” published by Castling and Godfrey, sung by Billy Williams. Made by National Phonograph Company USA. C.1907On lid “Edison Record” and “This record should turn at 160 revolutions per minute, no faster” Written on lid in blue pen “Trumpet”, “EDISON AMBEROL RECORD / FOUR MINUTE”warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, gramophone record, gramophone cylinder, edison cylinder, edison record, home entertainment, music recording, edison laboratory orange nj, usa, national phonograph company of australia ltd sydney, thomas a. edison

Edison Records was one of the early record labels that pioneered sound recording and reproduction, and was an important player in the early recording industry. The first phonograph cylinders were manufactured in 1888, followed by Edison's foundation of the Edison Phonograph Company in the same year. The recorded wax cylinders, later replaced by Blue Amberol cylinders, and vertical-cut Diamond Discs, were manufactured by Edison's National Phonograph Company from 1896 on, reorganized as Thomas A. Edison, Inc. in 1911. Until 1910 the recordings did not carry the names of the artists. The company began to lag behind its rivals in the 1920s, both technically and in the popularity of its artists, and halted production of recordings in 1929. Thomas A. Edison invented the phonograph, the first device for recording and playing back sound, in 1877. After patenting the invention and benefiting from the publicity and acclaim it received, Edison and his laboratory turned their attention to the commercial development of electric lighting, playing no further role in the development of the phonograph for nearly a decade. Start of the Recording Industry: In 1887, Edison turned his attention back to improving the phonograph and the phonograph cylinder. The following year, the Edison company introduced the ”Perfected Phonograph”. Edison introduced wax cylinders approximately 4+1⁄4 inches (11 cm) long and 2+1⁄4 inches (5.7 cm) in external diameter, which became the industry standard. They had a maximum playing time of about 3 minutes at 120 RPM, but around the turn of the century the standard speed was increased to (first 144) and then 160 RPM to improve clarity and volume, reducing the maximum to about 2 minutes and 15 seconds. Several experimental wax cylinder recordings of music and speech made in 1888 still exist. The wax entertainment cylinder made its commercial debut in 1889 at first, the only customers were entrepreneurs who installed nickel-in-the-slot phonographs in amusement arcades, saloons and other public places. At that time, a phonograph cost the equivalent of several months' wages for the average worker and was driven by an electric motor powered by hazardous, high-maintenance wet cell batteries. After more affordable spring-motor-driven phonographs designed for home use were introduced in 1895, the industry of producing recorded entertainment cylinders for sale to the general public began in earnest. Blank records were an important part of the business early on. Most phonographs had or could be fitted with attachments for the users to make their own recordings. One important early use, in line with the original term for a phonograph as a "talking machine", was in business for recording dictation. Attachments were added to facilitate starting, stopping, and skipping back the recording for dictation and playback by stenographers. The business phonograph eventually evolved into a separate device from the home entertainment phonograph. Edison's brand of business phonograph was called the Ediphone. The collection of three phonograph cylinders are an example of early recorded music use for domestic entertainment. They are significant as they represent the beginnings of the modern recording industry.Cardboard tube-shaped gramophone cylinder box with lid. The printed label on the outside of the box advertises the maker and patent details. The Catalogue Number and Title are either printed or hand written on the cylinder’s lid. This cylinder was made by Edison 1908 and contains Record number 53 by Sandy McNab. c. 1908On label “Edison Record No. 53, Sandy McNab" and "Form no. 1130, April 1908. Patented December 6 1904, No. 2109, and December 6 1904 No. 2110. “This record is sold by the National Phonograph Company of Australia Ltd, at Sydney Australia.” Trade Mark Thomas A. Edison warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, gramophone record, gramophone cylinder, edison cylinder, edison record, home entertainment, music recording, edison laboratory orange nj, usa, national phonograph company of australia ltd sydney, thomas a. edison

Ward Brothers (George and Samuel) registered a company (Australian Sewing Machines Limited Pty Ltd) with the head office address in Errol St, North Melbourne, and Prahan. The earliest newspaper advertisement for this company was in 1897. Around this time the Ward Brothers first imported sewing machines from England and Wertheim placed their decal on them and mounted them in their own Australian made cabinets. David Ward later imported machines from Beisolt & Locke in Germany and registered name  A.N.A. (All Native Australian), his shop was in Collingwood Melbourne. Some of these machines had Ward Brothers decals on them as well. The three brothers sold under the same name as Ward Brothers. The early Ward Brothers logo had a map of Australia with a picture of all three brothers on it. In 1911 all three of the Ward Brothers decided to share a stall in the yearly Melbourne exhibition. The A.N.A was the machine that got rave reviews. It was at this time that the Australian Sewing Machine Company Pty Ltd decided to add the A.N.A logo to their logo to cash in on the new found celebrity status that the A.N.A has gained. To cut a long story short. David Ward took his brothers to court to prevent this from happening. This was a long drawn out affair that took quite a few years. The settlement was decided out of court and nothing was disclosed of the deal that was made. David seemed to have left the scene, then the remaining Ward Brothers and A.N.A. combined and then became “Wardana”. There are many Ward Brothers sewing machines in displays, they originated from Japan, England, America, and Germany. It seems that where ever they got the best deal for sewing machines or parts is the direction they went. This is where the Bendigo sewing machine company came into the picture. All imported sewing machines into Australia drew a government tax. Bendigo Cording's Traction Company was given proposed two-pound tariff protection that gave the company a significant price advantage for its machines. As a result, the Ward Brothers purchased a huge number of Bendigo shares to get cheaper machines for their sewing machine cabinets. Ward Brothers then placed one of their company officials on the Board of “Bendigo Sewing Machines Limited” and the rest is history. Ward Brothers had shops Australian wide and in most of the major country towns. History for “Bendigo Sewing Machines Limited”     Cordings Traction Company owners (H. Keck MLC, W. Wallace, and W. Ewing) operated their business out of the former W. Webb & Co. building in Queen St. Bendigo. Around 1923-1924 they decided to switch from traction engines to manufacturing sewing machines. The actual date is not known but that year's financial report made note of both Cordings and Bendigo Sewing Machines Limited. The switch was made with the government of the day agreeing to a tariff of two pounds per head for every machine head made completely in Australia. The change from traction engines to sewing machines went well. Government representatives visited the factory in Bendigo to inspect and ensure that the sewing machines were Australian made as a result they agreed on granting the two-pound tariff to the company. After the first 12 months, they built 30, the following 12 months the company had produced 1500 machines probably due to the involvement of the Ward brothers. However, the government proposed a new condition to the tariff agreement which was that the company must produce 20% of Australia's requirements for sewing machines. In 1924 after having had produced 1500 machines resulting in reaching their financial limit for tariff support. According to the government, the requirement was 15,000 machines for the next year had to be produced to qualify for the tariff. The company had already reached its production limit and unfortunately folded. There were several attempts to regain government assistance to save this new industry but it was to no avail. Even a promise to open another factory in Sydney was offered but unfortunately wasn't accepted. An item fabricated in Australia from a majority of imported parts from either Germany, America or England giving a snapshot into the early manufacturing industries that were operating at the time of Federation. Sewing machine, treadle, in timber cabinet. Branded Ward Bros, A.N.A., Australian Sewing Machine Coy. Decorative carved timber cabinet, hinged, fold-out laminated timber top and five drawers; two small on each side with handles and one long, shallow, between side drawers without handle. Thread is on bobbin in a rocket shuttle (both in good condition) plus spare empty shuttle (rusty). Brass ‘Half Yard’ ruler inlaid across front, measuring scale in inches and centimetres. Two metal shuttle cover plates (or throat plate / slide plate); front one is impressed with a gauge for needle and thread. Gold trim and decals on flatbed and machine front and back, serial number under shuttle cover, brand on decals and on round metal plate on back of machine. Front right of machine has a bobbin winder. Treadle belt shows signs of wear and laminate on timber machine cover is peeling slightly.Decal coat of arms on right front of machine: kangaroo on left, man with broad-brim hat, holding pick-axe on right, in centre, top “SEWING MACHINE / THE / A. N. A.” then below it, the rising sun, then below that is state of Victoria shield with the Southern Cross constellation. Wheat sheaves around edge on left and flowering plant on right. Gold ribbon banner at bottom with script “WARD BROS.“ Decal of map of Australia on flatbed of machine. States and capital cities are marked and named (no northern territory), portrait of two men. In centre of map are interwoven letters “A. N. A.” and written in script “WARD BROS.” Decal across front of machine body has large, decorated gold lettering “A. N. A.” Decal across the top of machine “THE AUSTRALIAN SEWING MACHINE COY. PTY. Ltd.” Steel shuttle cover at front has an impressed gage listing cotton and needle sizes and number of stitches. Brass disc on back of machine “A. N. A.” in centre. Brass ruler across front of machine has carved or pressed words in the timber. In centre “INCHES” above ruler and “CENTIMETRES” below ruler, and on right above ruler is “HALF YARD” Decal across back of machine’s body “A.N. A. / MADE IN U.S.A.” Stamped into metal under shuttle cover is “219415” (2 and 5 are partially there, first 1 could instead be a 7) flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ward bros., australian sewing machine co., a.n.a., treadle sewing machine, rocket shuttle sewing machine, home industry, clothing, wardana, australian sewing machine company, all native australian, dressmaking, clothing manufacturer

The Aerial Drip Torch (ADT) was an idea conceived in Canada in the 1970s by John Muraro It was developed in 1982 by the New Zealand Forest Service to become the Ashley Aphid Helitorch. Forestry Tasmania acquired one of the machines and modified it in February 1987. Also known as a dragon helitorch it consisted of a large 135-litre tank containing jellied petrol, a displacement pump, propane ignition system, burner nozzle and fire extinguisher system. It was first trialled in Victoria at Swifts Creek in 1991 and the Aerial Drip Torch (ADT) has now become standard practice.Two Aerial Drip Torches (ADTs) were built in the 1990s by the Fire Equipment Development Centre at North Altona, They were developed in conjunction with the Department of Conservation and Land Management in Western Australia. The first was trialled during the 1991/92 autumn burning season. The machine proved to be successful and a second machine was introduced in 1998 to assist with burning operations across the State. The ADTs were commonly used for regeneration burning (controlled burning of logging slash). The first ADT introduced in 1992 had a dry weight of 160kg and a capacity of 130 litres, providing about an hour of operation. Following initial use, systematic modifications were adapted including improved ignition of gel at the drop tube, installation of an air bleed valve at the pump to assist pump priming and improved mounting brackets for the CO2 bottles and propane canister attached to the machine. The second, and lightweight ADT, introduced in 1998 had a dry weight of 68kg and a capacity of 200 litres due to a smaller lightweight frame and plastic (Polyfin) tank. In operation the ADT is suspended below a helicopter via four strops attached to the vessel and a cable to the helicopter cargo hook. Gelled fuel is dispensed via a drop tube which is attached to the pump outlet of the machine, and ignited via a gas torch. Safety features built into the first ADT were: a brass melting plug designed to be activated at 200 C bursting disc designed to burst at170 Kpa should the vessel over pressurise. a pressure relief valve set to 35 Kpa ( vessel operated between 16 &34 Kpa) a low pressure sensor designed to shut down the machine should the vessel pressure drop below 15Kpa. the vessel is filled with CO2 above the gelled fuel to eliminate ignition with in the vessel. CO2 is used to expel any residue of ignited gel from the drop tube to prevent ignition when flying outside the boundaries of the burning area. See FIRE EQUIPMENT NOTE - 46 [ https://drive.google.com/file/d/1CKtcH-3rUlrtbE9dkNP27PYT2-raVVhF/view ]forests commission victoria (fcv), bushfire, bushfire aviation, planned burning

Copy of Godfrey Hirst family videos/photograph on CD. Including 1951 floods at Mill. All video content filmed at Godfrey Hirst Woollen Mill, Swanston Street, South Geelong. Godfrey Hirst's children. Family home in Newtown and holiday home in Eastern View.Compact disc (CD) containing colour video footage. Film has no audio content. Visual content outlined below: 00:00 – 00:05 – External view of brick building – Godfrey Hirst & Co. Pty. Ltd. 00:05 – 00:10 – Exterior garden setting, three men in suits with fabrics and object 00:10 – 00:28 – Exterior garden setting showing eight women, most likely on a break from working at the Godfrey Hirst factory. The footage shows them all getting up and walking back towards the building at the end. 00:28 – 00:38 – Exterior garden setting, showing seven men in white shirts and ties seated and standing around a table, turning pages on a folder on the table. 00:38 – 00:52 – Interior factory setting, showing four men in coats handling green and red wool. 00:52 – 1:08 – Three men in suits in an exterior garden setting looking at paperwork. 1:08 – 1:23 – Four men in coats in a garden handling coloured wool samples. 1:23 – 1:42 – Four men in suits in a garden setting handling woven fabric. Two of the men are holding pipes. 1:42 – 1:57 – Interior factory setting showing men operating machinery. 1:57 – 2:05 – Exterior factory setting showing a man driving machinery carting wool bales. 2:05 – 3:14 - Flood scenes, showing the exterior of the Godfrey Hirst building with a man rowing a boat down the street, and a horse and cart in flood waters. There are scenes of flooded streets, exterior of flooded buildings and people standing in flood waters. 3:14 – 3:40 - Interior building views of flood waters in factory with people, machinery, equipment and textiles in flood waters. 3:40 – 4:03 - Exterior views showing a tractor, boat, horse and people in flood waters. 4:03 – 7:02 Exterior setting showing crowds of people watching a fashion parade. The fashion parade is of women in various clothing, including suits jackets, skirts, coats and hats. 7.02 - END"Hirst family films 1936-1964 Incl. Godfrey Hirst and co P/L Woollen mills"geelong, godfrey hirst & co. pty. ltd., family films, factory, flooding, 1950s, wool processing, fashion, textiles, horse and cart, wool bales, transport, machinery, fashion parade, working life

The Dead Man’s Penny is a commemorative medallion which was presented to the next-of-kin of the men and women from England and the Empire who died during World War One. The Dead Man’s Penny was accompanied by a letter from King George V, stating ‘I join with my grateful people in sending you this memorial of a brave life given for others in the Great War’.[http://nma.gov.au/blogs/education/2010/11/14/dead-mans-penny/] Popularly known as the "Dead Man’s Penny", because of the similarity in appearance to the somewhat smaller penny coin. 1,355,000 plaques were issued, which used a total of 450 tonnes of bronze, and continued to be issued into the 1930s to commemorate people who died as a consequence of the war. [http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] It was decided that the design of the plaque was to be picked from submissions made in a public competition. Over 800 designs were submitted and the competition was won by the sculptor and medallist Edward Carter Preston with his design called Pyramus, receiving a first place prize of £250.[http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] They were initially made at the Memorial Plaque Factory, 54/56 Church Road, Acton, W3, London from 1919. Early plaques did not have a number stamped on them but later ones have a number stamped behind the lion's back leg. [http://en.wikipedia.org/wiki/Memorial_Plaque_(medallion)] Ted Cannon's plaquette does not have a stamped number. Ted Cannon was a gifted artist and cartoonist who studied at the Ballarat School of Mines Technical Art School. During the Battle of Pozieres on the Western Front Ted Cannon worked with the Scout Platoon sketching the enemy's gun emplacements. Ted proved invaluable to the Brigade and brought he came under the attention of the Australian High Command. On 13 September 1916 Ted was given a special assignment for General C.B.B. White. Ted was sent out forward of the Old Mill at Verbrandenmolen (in the Ypres Salient) to draw a panorama of the German lines in the area from Hill 60 to The Bluff. It was a hazardous task and Ted was warned to be careful. Tragically he was sniped by an enemy machine-gunner and sustained severe abdominal wounds. Stretcher-bearers rushed him to the 17th Casualty Clearing Station where he was operated on by the doctors at 8.30 that night. With little chance of success, but ever resilient, Ted remained conscious almost to the end. He died early in the morning of the 14 September 1916. His body was buried in the large Military Cemetery at Lijssenthoek. The effects of the late Ted Cannon were returned to his parents. These were an autograph book, three brushes, prayer book, housewife, whistle, book, hymn book, curios. Another listing gives his effects as "identity disc, letters, photos, wallet, 2 books, Mexican Dollar, 1 cent (Ceylon), 3 German Straps, Fountain Pen, Cigarette-holder, Franc Note, 50 centimes Note, devotional book, mirror, rosary, scapula, metal ring, two combs, book of views, nail clippers, badges, tie clip, Egyptian stamp.[http://recordsearch.naa.gov.au/scripts/Imagine.asp?B=3202589] Ted Cannon was an only child. It is not known how the 'Dead Man's Penny' came into the ownership of the donor, but it is thought that it may have been left in a house owned by the donor's mother. Further information on Ted Cannon can be found at http://bih.ballarat.edu.au/index.php/Edwin_J._Cannon and http://www.ballarat.edu.au/about-ub/history/art-and-historical-collection/ub-honour-roll/c/edwin-joseph-ted-cannon-1895-1916Large bronze medallion or plaquette featuring an image of Lady Britannia surrounded by two dolphins (representing Britain’s sea power) and a lion (representing Britain) standing over a defeated eagle (symbolising Germany). Around the outer edge of the medallion are the words ‘He died for freedom and honour’. Next to Lady Britannia is the deceased solider’s name, with no rank provided to show equality in their sacrifice. (http://nma.gov.au/blogs/education/2010/11/14/dead-mans-penny) The plaque was distributed throughout the British Empire, and the first plaques were distributed in Australia in 1922 "Returned home" by W. & O. Mayne, 2013. ted cannon, edwin joseph cannon, cannon, world war 1, world war

57 slides and 1 negative. (1) "1947 Rolling the surface," in front of the newly constructed Administration Building. (2) "5-5-60 Same tree 7 months later-New Growth." (3) Men standing around a large horticultural machine. (4) "Lawns Housing Com" Aug "66?" (5) "Flemington Racecourse." (6) "Mustard-Cover Crop. 1960." (7) Tree climbing. (8) "Grafting-scions. BHC." (11) "Mildura-Soil Probe Oct 67." (12) Virus tested stock trees & layout Flemings Apr 70." (13) "Best's Winery Mar 75." (15, 16) Best's single student and group. (17) "Ploughing-Diagram to show incomplete cover of trash? Farm Practices." (18) "Spraying Hand Equipment for Insect Control in and around Buildings USA Yearbook 1952." (19) "Pasture Harrows." (20) "Mould Board Plough-Tractor." (21) "Disc Harrows-Offset-Tractor." (22) Tyne Cultivator-for Tractor." (23) See B91.258." (24) Burnley College libary. (25) "Irrigation-Delver Tatura 12/59." (26) "Tatura 12/59 Delver Ferguson T." (27) "Wilson's Prom? date." (28) "Wilson's Promontary Nov 1960 lunch." (29) "W. Prom." (30) Camp 1957 Wilson's Promontary." (31)" Longeronong Field Day 1964 Machinery Combination (Small)." (32, 33) "Longeronong Field Day 1964 Machinery Cultivating." (34-36) Photographs of plants in book. (35) Alnus? (37) "Meterosideros excelsa." (38) "Rhipsalidopsis rosea." (39) "Protea neriifolia." (40) Banksias-Species." Insects: (41) "Lacewing larva." (42) "Mites Aug 75." (43) "Yellow Mite, Red Spider (Arachnida)." (44) "Jassid-Life Cycle 9/51." (45) "Grape Fruit Crop (Florida) Destroyed by Fruit Fly. Animals without backbones." (46) "Jassid-Vegetable 9/51." (47) "Field Day 57 (Fruit Fly-Enlarged)." (48) "Field Day 57 (Fruit Fly-Stages)." (49) Insect Life Cycle. (50) "Comatibility (sic) Chart." for Insecticides & Fungicides. (51) "Insecticides-Toxicity." (52) "Life Cycle of the Leather Jacket." (53) "Grasshopper-Head Dissected Mouth Parts." (54) "Types of Antennae." (55) "Spider Mites USA Yearbook 1952." (56) "Cultivator." (57) "Organic Phosphates." (58) Negative Isopogon anemonifolius.administration building, lawns, flemington racecourse, mustard-cover crop, tree climbing, grafting, mildura, soil probe, pests, machinery, excursions, tatura, library, wilsons promontory, plants, alnus, zygocactus, schlumbergia, feijoa, acca sellowiana, protea neriifolia, banksia, isopogon anemonifolius

This music stand set of shelves is one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. Many of the items of furniture, linen and crockery in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) whose photos are in the parlour. They married in 1880. Henry, born at Tower Hill in 1858, was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940. THE SHELVES During the years 1869-1935 there were well over 250 registered bamboo furniture producers in Britain. The earliest recorded firm was Hubert Bill of 14 Little Camden St, London N.W., who claimed to have been established in (1869 the first bamboo furniture maker), while Daniel Jacobs & Sons of Hackney Road, London, were still in business in 1915, after 45 years of production. Design, quality, price and methods of construction were fairly consistent throughout the whole period, but it was the imaginative and often eccentric choice of subject matter that marked the differentiation between the various firms. While most produced standard tables, stands and fire-screens, the more adventurous offered for sale items such as Corner shelve units, charcoal barbecue grills and musical tea tables. Shelves were often covered with embossed leather paper designs, at first imported from Japan and then later produced in England. Some firms incorporated the knobbly roots of the bamboo stems into their designs, generally to form feet. Occasionally handles to drawers and cupboards were made with these roots although they were more commonly carved as imitations. Handles were mostly of cheap metal or brass. The ends of the bamboo canes were capped with stamped metal or turned bone, ivory or wooden discs. Methods of construction fell into three categories. First and most common is that of pegging. Bamboo stems being hollow, thick dowels can easily be glued into the joints. Some firms farmed out this work of `plugging' the ends of the canes to part-time workers at home. The second method, that of pinning, was far less satisfactory as bamboo tends to split lengthwise and therefore the jointed pieces eventually disintegrated. The most efficient method was that patented in 1888 (patent No 2383) by the firm of W. F. Needham in Birmingham. It consisted of metal shoes and covers for all joints which were made by wrapping a metal strip around the stems and soldering the overlapping ends. Some joints were further strengthened by a small pin or screw. Needham was by far the largest and most successful manufacturer and their individual and superior method of construction undoubtedly gained them their reputation. A. Englander & Searle of 34 Gt Eastern St and 31 Mare St, Hackney, London, were a firm particularly concerned with methods of construction. Although they seem to have entered the bamboo furniture market at a comparatively late date, about 1898, they produced inexpensive bamboo, aimed particularly at the export trade. The company stated in their catalogue that bamboo furniture “can be exported in one piece or it can be exported in pieces and put together again. The fixing up is much facilitated by a system of marking and numbering. Further, no glue is required for putting together as the screw system only is applied”. This method of construction best fits the Etagere in the Flagstaff collection and it is believed to have been made by A Englander & Searle, exported in a knock down form to Australia, purchased in kit form from a dealer hear and put together by the owner. The Etagere is a significant item as it highlight furniture fashion of the late Victorian era. This item was highly sort after in its time and although mass produced, not many examples remain, so this example is a valuable addition to the Flagstaff collection. It is believed that the construction method used is by a notable and respected maker of bamboo furniture and that its production was aimed at the export market and probably came to Australia in kit form.Bamboo shelves: decorative free standing Etagere comprising three large shelves and one small shelf. Shelves are made of wood used to store either orange or bacon boxes (as there are no knots in the wood, imported from South America and cheap to recycle). Shelves are covered with embossed leather paper. Frame is made from tortoise shell bamboo (brown lacquer applied to simulate tortoise shell appearance). Ends of bamboo canes are covered with metal shoes and fixed with a pin. Other bamboo joints are fixed with round head steel screws. This item is part of the Giles Collection.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bamboo shelves, bamboo etagere, victorian furniture, furniture, bamboo furniture, embossed leather paper, simulated bamboo, tortise shell, a englander & searle, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture

The design of this small disc is from the Australian Colonial period. The cedar wood desk was made in Australian by Foy & Gibson in the 1880s, most probably in the business’s works in Collingwood, Victoria. The heavy brass locks fitted into the desk drawers were made by the famous Hobbs & Co of London, mid-late 19th century. In 1860 the business changed hands but the locks were still branded Hobbs & Co. The desk is branded with the symbol of Victoria’s Public Works Department. There is currently no information on when, where and by whom this desk was used. However, a very similar desk with Hobbs & Co. locks is on site at the Point Hicks Lightstation in Victoria and was formerly used by the Point Hicks head light keeper there. Other light stations also have similar desks from the P.W.D. (see also ‘Desk, Parks Victoria – Point Hicks Lightstation, Victorian Collections’.) HOBBS & CO., LONDON Alfred Charles Hobbs, 1812-1891, was American born. He became an executive salesman in 1840 for renowned lock manufacturer Day & Newell. His technique of exposing the weaknesses of people’s current locks was very successful in generating sales. He represented Day & Newell at London’s Great Exhibition of 1851, competing with other lock makers. Through the Exhibition he became famous for picking the best trusted Bramah and Chubb locks. Hobbs’ fame led him to found his own company in 1851 then register it in 1852 as Hobbs & Co., London. Hobbs was awarded the Telford Medal by the British Institution of Civil Engineers in 1854 for his paper 'On the Principles and Construction of Locks'. In 1855 the very successful company added partners and became Hobbs, Ashley and Co. In 1860, it traded under the name of Hobbs, Hart & Co. and was based in Cheapside London, where the business remained. Hobbs then returned to America, having sold the complete company to John Mathias Hart. He briefly returned to attend the 21st anniversary celebrations of the successful business in 1872. Hobbs kept himself busy in America, inventing and manufacturing firearm ammunition, for which he held several patents. He passed away there in 1891, a month after his 70th birthday. FOY & GIBSON Mark Foy wan an Irish draper who migrated to Bendigo, Victoria in 1858, attracted by the gold rush. He lived and worked in the area, establishing a drapery business. In the 1870s he moved to Melbourne where there were better prospects for expansion. He chose a place in Smith Street, Collingwood, a suburb of Melbourne, and started his business at the rear. In 1883 Foy retired, bringing in William Gibson as a partner, and then transferred his own share of the company to his son Francis Foy. Not long afterwards Francis sold his half share to Gibson, and the business continued under the name of Foy & Gibson. Francis Foy and he and his brother Mark Foy (junior) moved to Sydney. They established a business there in 1885, named after their father, Mark Foy. Gibson added to his business by starting his own manufacturing works from 1887, producing clothing, millinery, furniture, bedding and hardware for his stores. The factories, warehouses and stores complex became one of Victoria’s largest employers. He set up branches of his stores in Perth, Brisbane and Adelaide and two more branches in Melbourne. Foy & Gibson (usually referred to as Foys) became one of Australia’s largest retail department stores. In 1931 Foy’s little house in Collingwood was still part of the entrance to Foy & Gibson Emporium. In 1955 the company was bought out by Cox Brothers. Later on the stores were sold to various businesses such as David Jones, Woolworths and Harris Scarfe. In 1968 Cox Brothers went into receivership, ending almost 100 years of the business known as Foy’s. The former Foy & Gibson Complex is registered by Heritage Council Victoria. “Designed by William Pitt, this magnificent 19th and early 20th century complex of factories, warehouses and showrooms saw the production of a remarkable range of goods for Foy & Gibson, Melbourne’s earliest department store chain”. (Quoted from the Plaque erected by the Collingwood Historical Society 2007) P.W.D. – Public Works Department, Victoria The desk is stamped “P.W.D,” signifying that it is from the Public Works Department in Victoria, which operated from 1855-1987. The department was responsible for, among other things, the design and supply of office furniture and equipment for public buildings and organisations. This desk is significant historically as it originated from Foy & Gibson, a colonial Australian company that had a positive and strong impact on employment, manufacturing and retailing in Melbourne, Victoria and Australia. The significance of Foy & Gibson to Victoria’s and Australia’s history is marked by the Collingwood Complex being registered in both Heritage Victoria Register (H0755, H0897 and H0896) and National Trust Register (B2668). This locks on this desk are significant for their connection with their manufacturer, Hobbs & Co, who invented a lock that surpassed the security of any other locks produced in the mid-19th century. Desk; Australian Colonial cedar desk, honey coloured. Desktop has a wooden border with a rolled edge and a fitted timber centrepiece. The four tapered legs are tulip turned. Two half-width drawers fit side by side and extend the full depth of the desk. The drawers have dovetail joints. Each drawer has two round wooden knob handles, a keyhole and a fitted, heavy brass lever lock. Inscriptions are on the desktop, drawers, desk leg and lock. Made in Australia circa 1880 by Foy & Gibson, lock made by Hobbs & Co, London.Impressed into timber frame of one drawer “FOY & GIBSON” Impressed into lock “HOBBS & CO / LONDON”, “MACHINE MADE”, “LEVER” Impressed along the front edge of the desktop [indecipherable] text. Impressed into the timber of right front leg “P. W. D.” below a ‘crown’ symbol Handwritten in white chalk under a drawer “206” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, desk, cedar desk, colonial desk, 1880s desk, australian colonial furniture, furniture, office furniture, office equipment, australian made furniture, colonial furniture, colonial hardware, foy & gibson, alfred charles hobbs, hobbs & co london, hobs & co lever lock, cabinetry lock, machine made lever lock, p.w.d., public works department victoria, day & newell, great exhibition of 1851, bramah lock, chubb lock, telford medal 1854, cheapside london, mark foy, mark foy – bendigo draper, smith street collingwood, william gibson, foy & gibson emporium, foy & gibson complex, cox brothers

Robert M. Serjeant was the only son of Theo and Alice Serjeant, and grandson of famed mine manager Robert Malachy Serjeant (1829-1902). Robert Serjeant was a past student of the Ballarat School of Mines (SMB), and at the time of his World War One enlistment he had just finished an electrical course, and was working as a junior member of the SMB Department of Electricity. Robert Serjeant enlisted in December 1914. Corporal Serjeant (2138) of the 8th Battalion, died of wounds received in action at Gallipoli on 28 April 1915, aged 20. He was buried at sea and his name is listed at the Lone Pine Memorial. A brown paper parcel of Robert Serjeant's belongings was returned to his parents. It contained his discs, wrist-watch (damaged), notebook, hymn book and letters. [1] The Ballarat Courier reported: 'He was of quiet disposition, and a great student, devoting himself closely to his work.' Further information on R.M. Serjeant can be found at https://bih.federation.edu.au/index.php/Robert_M._Serjeant_Jnr The following statement on the ANZAC Commemorative Medallion and Badge was made by by Prime Minister Holt in 16 March 1967 when the Minister for Defence announced that it had been decided by the Australian Government, in consultation with the New Zealand Government, to issue a medallion and lapel badge to the veterans of the Gallipoli Campaign. "Last March, the Minister for Defence announced that it had been decided by the Australian Government, in consultation with the New Zealand Government, to issue a medallion and lapel badge to the veterans of the Gallipoli Campaign. I am glad to be able to announce that arrangements have now been completed for the production of the medallion and the badge. The Minister for the Army will be arranging distribution to those wishing to receive them as soon as possible. The Government hopes that production of the medallion and lapel badge will be sufficiently advanced to permit at least some of them to be distributed by ANZAC Day. The medallion (with the name of the recipient inscribed) will be issued to the surviving members of the Australian Defence Force who served on the Gallipoli Peninsula, or in direct support of the operations from close off-shore, at any time during the period from the first ANZAC Day in April, 1915 to the date of final evacuation in January, 1916. Next of kin or other entitled persons will be entitled to receive the medallion on behalf of their relatives, if the relative died on active service or has since died. For surviving members, a lapel badge will also be available for wearing. This will be a replica of the obverse (or front) of the medallion and will be about 1 inch high and 2/3 inch wide - the same size as the RSL badge. The medallion is the work of Mr. Raymond Ewers, the well-known Australian artist, based on a suggestion by Mr. Eric Garrett, a staff artist with the Department of the Army. It has been endorsed by both the Government of New Zealand and ourselves. It will be approximately 3 inches high and 2 inches wide. The obverse of the medallion depicts Simpson and his donkey carrying a wounded soldier to safety. It will be bordered on the lower half by a laurel wreath above the word ANZAC. The reverse (the back) shows a relief map of Australian and New Zealand superimposed by the Southern Cross. The lower half will be bordered by New Zealand fern leaves. The medallion will be cast in bronze and the lapel badge will be metal of a bronze colour. For the information of the honourable members I present also a brief statement setting out the conditions of eligibility which will apply to the medallion and badge and the manner in which those desiring to receive them should apply."(https://www.awm.gov.au/encyclopedia/anzac/medallion/doc.asp, accessed 26/02/2014) Conditions of eligibility. All members of the Australian Defence Force who served during the Gallipoli Campaign are entitled to receive the ANZAC Commemorative medallion. The campaign lasted from April 25, 1915 to January 8, 1916. The award will be made for service on the Gallipoli Peninsula and service in support of the operations in an area off-shore eastward of a line drawn from Yukyeri Point (lat 39 50' 40'' N long 26 9' 45'' E) through a point in lat 39 53' N long 26 0' E thence to Cape Gremea (lat 40 35' N long 26 6' E). The award will also be available to members of philanthropic organisations and the Press who were accredited to the AIF, and to Australian members of the crews of merchant ships or hospital ships which operated in direct support within the defined area. Note: The boundary line would run just off-shore from the land masses north and south of the Dardanelles, and is estimated to be within about 5 miles from the beach at ANZAC Cove. (https://www.awm.gov.au/encyclopedia/anzac/medallion/doc.asp, accessed 26/02/2014) This Item is significance because is was only issued to members of the Australian and New Zealand Defence Force who served at Gallipoli. This Medallion is significant because of its relationship to Robert M. Serjeant who died on 28 April 2015 at Gallipoli of wounds received in Action. Bronze commemorative medal in black presentation case showing Simpson and his donkey carrying a wounded soldier to safety. A crown is situated on top of the medal, and the word ANZAC beneath the medal. The opposite side depicts Australia, New Zealand and the Southern Cross Constellation. The lower half is bordered with New Zealand Fern leaves. The commemorative medal was presented to the family of Robert M. Serjeant. Gift of David Stevens, 2014.Engraved: "1238 R.M. Serjeant"serjeant, r.m. serjeant, robert m. sergeant, anzac, medal, numismatics

Until late 1925, all record players reproduced sound by purely mechanical means and relied on a so-called "amplifying" horn to efficiently couple the vibrations of the stylus and diaphragm to the space occupied by the listeners. In 1906, the Victor Talking Machine Company, Columbia's arch competitor, introduced a line of models in which the horn and other hardware were concealed within a cabinet, made to look like fine furniture rather than a mechanical device. They named the new style a "Victrola". It quickly proved to be very popular and successful. Other makers, adopting the distinctive suffix, introduced their own "-ola" internal horn machines, such as Edison's Amberolas and Columbia's Grafonolas. They were soon outselling the external horn models. At first, like nearly all other early record players, all Grafonolas were driven by a spring motor that the user had to wind up with a crank before playing a record. In 1915, Columbia began to introduce electric-motor-driven models, as a majority of urban areas had been wired to electrical grids. The electrified Grafonolas supported both alternating and direct currents from 110 to 220 volts. Electrified Grafonolas never gained the popularity enjoyed by the spring motor-driven versions due to substantially higher prices and a lack of electrical service in rural areas. Grafonolas were manufactured under the 1886 United States Letters Patent No. 341,214 which Columbia Graphophone company acquired through its predecessor American Graphophone Company. Two models were available; a portable table model and bigger stationary floor model, offering limited mobility through the application of casters. The most notable table models included Grafonola Favorite introduced in 1911 and Grafonola Savoy introduced in 1915. The most notable floor models included Grafonola Symphony Grand introduced in 1907, Grafonola Regent introduced in 1909, Columbia Mignon introduced in 1910, Grafonola Princess introduced in 1911, Columbia Colonial introduced in 1913. Various period Grafonolas were introduced in 1917 to cater to an increasingly prosperous clientele. Columbia Phonograph Company began to manufacture a series of ornate, limited edition period machines. These were highly priced (some as high as US$2,100 ) special orders that provided consumers with options to choose styles which matched their interior décor. Although the Gramophone does not have a large monetary value, it is of social significance as it demonstrates the progress made in audio reproduction from the first Edison cylinder machines to improvements that allowed ordinary people to be able to buy music discs and enjoy music in their own homes. Gramophone with internal horn, floor model, mechanically operated by a crank handle. Colombian Grafonola Princess (Type F2) brand. Gramophone is in a wooden display cabinet with room for record storage underneath and is complete with handle. Manufactured in 1911 by Columbia, USA."Columbia Grafonola Type 2 Made in USA"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, record player, gramophone, mechanical gramophone, floor model gramophone, gramophone record, columbia graphophone company, american graphophone company, columbia, grafonola, grafonola princess, music, playing music, audio reproduction, sound equipment, domestic entertainment, 1911 gramophone

Vol. 5, No. 5 (4), Sep-Oct 2000 CONTENTS From Beach to Battleground 3 Talking art with Rick Amor The Poetry of Catharsis 7 New Work by Sandy Jeffs Saltwater 8 Paintings of Sea Country Snake Circle 10 Reviewed by Anna Barden Short Story 12 The Rainbow Shell Theatre Reviews 16 By Kathy Oliver Interview 18 David Moore and why he paints Art Now 21 City of Darebin Biennial Exhibition Australian Classical Music 22 Betty Scarlett William Barak Writing Competition 24 Stories by Emily Borg & Rhiannon Foster New Arts Contributors 26 Were Street Cafe & Studio19 Artin About 27 Wining & Dining 30 Poetry 32 By Shelton Lea Artist's Services 32 "Peter Dougherty has been involved in the local art scene for many years. As publisher and editor of the arts magazine Artstreams, his comments on the various branches of the arts are widely respected. His "The Arts" column in the Diamond Valley Leader presents a brief summary for a much wider cross section of the local community. Peter also operates his own gallery and the Artstreams Cafe at the St Andrews market. Peter has a wealth of knowledge about present day and historical aspects of local art and artists." - Eltham District Historical Society Newsletter No. 161, March 2005Colour front and back cover with feature articles and literary pieces with photographs and advertisements printed in black and white. 36 pages, 30 cm. Vol. 1, no. 1 (Nov. 1996) - Vol. 10, no. 5 (summer ed. 2005/​06) art streams, rick amor, willy wonka's ice cream gourmet food, bulleen art & garden centre, sandy jeffs, museum of modern art at heide, sea country, indigenous paintings, roberta sykes, kinglake gallery, sue yardley, alan marshall short story award, plenty ranges arts & convention centre, eltham little theartre, warrandyte theartre company, eltham wiregrass gallery, david moore, montsalvat, art now, at winter's end festival, artstreams publications, amberley, anthology of australian music on disc, plenty views golf park, wayne viney, william barak short story competition, emily borg, rhiannon foster, dynamic vegies, maria pellicano, steve pellicano, were street cafe, gemma lynch-memory, adriane strampp, nina christesen, stephanie holt, st andrews market, thompsons pharmacy

.1) Identity disk, round, brass, small hole at top, pressed details into brass. .2) same as .1) except 8 sided and two holes..1) & .2) "AUST 1803289 JR WADSWORTH ANG B POS"accessory, identity, disc

Promotion for graduating University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) students, 1999. Promotion for graduating University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) students, 1999. CD Rom catalogue, printed white and black, single sided. The interactive/multimedia CD Rom was developed using Macromedia Director. Successfully tested on vintage Macintosh G4 with Mac OS 9.2.2 jodie grixti, paul mah, taneale hrymakowski, wesley towers, oliver wilson, rebecca carden, kelly tame, paul scanlon, hjoerdis boulter, glenn reynolds, paul beseler, mariya beale, heath mccurdy, meg williams, sally-ann mcmahon, leon dwyer, kate sumner, kerrie still, melanie buckingham, dean tonkin, university of ballarat, federation university, graphic design, multimedia

Promotional catalogue of third year, University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) graduating student work, 2000. Interactive CD Rom titled "Liquid" accompanies Re_Designed pack, features students and examples of their work. Successfully tested on vintage Macintosh G4 with Mac OS 9.2.2 The end of year exhibition theme appears to have been "Solid, Liquid, Gas"CD Rom printed two colours (yellow and very dark teal) single sided.university of ballarat, federation university, graphic design, multimedia, belinda janetski, ben sanders, angelina teo, selina shillito, justin weyers, andrew strack, debbie ferris, yuri tanabe, nandor rakosi, jason grace, wes prendergast, michael fennelly, brett van lieshout, derek fong, abby vanstan, vince luc, lynette heenan, van sanders, sam harmer

CD Rom catalogue of third year, University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) graduating student work, 2001. Interactive macintosh CD Rom, although limited PC versions were available on request. Successfully tested on vintage Macintosh G4 with Mac OS 9.2.2 No student names available on pack, accessible via CD Rom. CD Rom catalogue of third year, University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) graduating student work, 2001. CD Rom printed three colours (white underprint, black and red)university of ballarat, federation university, graphic design, multimedia

CD Rom featuring the work of University of Ballarat, Bachelor of Visual Arts (Fine Arts), Bachelor of Arts (Visual Arts) Honours, including Painting, Drawing, Multi-discipline, Ceramics/3D. Held in clear plastic sleeve.university of ballarat, federation university, visual arts, arts academy, camp street campus, bachelor of visual arts (fine arts), bachelor of arts (visual arts) honours, including painting, drawing, multi-discipline, ceramics/3d.

Electronic, visual arts, research publication around "hearing loss and deafness", interactive CD Rom. Blue paper sleeve housed in yellow plastic case. CD printed black and blue.non-fictionElectronic, visual arts, research publication around "hearing loss and deafness", interactive CD Rom.university of ballarat, federation university, graphic design, drawing, research, hdr, mt helen, school of arts, hearing loss, deafness, loris button, ross morgan, amanda george

The NEROC (North East Regional Organisation of Councils) Report investigates sites of faunal and habitat significance in north-east Melbourne. This CD produced for Nillumbik Council in 1997. The attached PDF file gives an overview of the report.Compact disknillumbik, ecology, habitat, neroc

Contains a collection of photographs by Jasmin Burge. Mainly focused on Greensborough area, there are also photographs of Loyola College, Lower Plenty Hotel, Hurstbridge and some Greensborough Historical Society activities.A collection of 21st century photographs of the Greensborough area. 1 compact disk in plastic case. Contains photographs.In black pen on cd: "LP Hist walk, Hurstbridge graves, GB and Greenhills, Lower Plenty hotel portraits, GB Resource Centre."greensborough, greensborough cemetery, loyola college, greensborough historical society, jasmin burge

Zonophone was a record label founded in 1899 in Camden, New Jersey, by Frank Seaman. The Zonophone name was not that of the company, but was applied to the records and machines sold by Seaman from 1899–1900 to 1903. In the United Kingdom and the Commonwealth, the Gramophone Company continued to use the Zonophone label until 1931. 'Zonophone' indicates the British label rather than Zon - O- Phone, the earlier American label. Madame Deering was Eleanor Jones-Hudson. Eleanor Jones-Hudson (1874-1946) was a Welsh soprano and wife of the flautist Eli Hudson. She recorded extensively for the Gramophone Company, in excerpts from opera, operetta, oratorio, ballads and songs. She was sometimes credited as Alvena Yarrow and as Madame Deering. The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record—with which it had co-existed from the late 1880's through to the 1920's. Records retained the largest market share even when new formats such as compact cassette were mass-marketed.. (ref Wikipedia) This item is an example of an item once commonly found in homes. By the late 1980s until 1991, digital media, in the form of the compact disc, gradually replaced the vinyl record.A black gramophone record with a blue and gold label - Zonophone. One side is Ave Maria sung in English by Madame Deering, a soprano, with orchestra and chorus. On the other side is Ora Pro Nobis (Pray For Us). It has the serial no. 472.Pressed onto the Ave Maris side is 7793-e.zonophone gramophone-record madame-deering-eleanor-jones-hudson ave-maria

John Donald Mackenzie Brownlee (7 January 1900 – 10 January 1969) was an Australian operatic baritone. For most of his professional career he was based in Europe and then United States. He married former Countess Donna Carla Oddone di Feletto in Paris on 29 November 1928, and the couple had a daughter and two sons. He died in New York and was buried in Ferncliff cemetery, Hartsdale. (ref. www.operafolks.com)The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record—with which it had co-existed from the late 1880s through to the 1920s—by the late 1920s. Vinyl records were still the most popular medium even when new formats such as compact cassette were mass-marketed. By the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. This item is an example of the music popular in the the first decades of the 20th century.A black phonograph record - "His Master'sVoice". On the A side is Passing By (melody by Edward Purcell)) sung by John Brownlee, a baritone, accompanied by piano. On the B side is King Charles (music by Maude Valerie White) also sung by John Brownlee,E 483gramophone-record brownlee-john music

In the late 40s and 50s country music was very popular in Australia. In a relatively short time from the late 50s, rock & roll had supplanted other genres of popular music, dominating the city stages and radio and TV airwaves. Country music remained popular in regional country areas.This item is an example of music popular in the 1940's and 1950's in country Australia. The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record. Records were still the most popular medium even when new formats such as compact cassette were mass-marketed. By the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991.A 78 rpm black gramophone record. On the A side is Ninety-Nine Ways, sung by Johnny Frank and on the b side is Gone by Rex Turner. It is a W. & G. Elected Release from the Aberbach Album Series.WC - XPN Aberbach 395 Aust Pty Ltd gramophone-record music-country

Coronet was a record label in Australia, based in Sydney. It operated from the early 1950s until around 1962 and was recognizable by its octagonal label.The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record—with which it had co-existed from the late 1880s through to the late 1920s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed. By the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. This record sleeve/jacket is an example of a music media not commonly used in the 21st century.A cream coloured paper sleeve for a CBS Coronet record 78. It has purple print - Recorded by Columbia Records A Division of Columbia Broadcasting System Inc USA. It lists the records available from Coronet.phonograph-record-sleeve coronet columbia

The phonograph disc record was the primary medium used for music reproduction until late in the 20th century, replacing the phonograph cylinder record—with which it had co-existed from the late 1880s through to the late 1920s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed. By the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. This item reflects a music media no longer common in the 21st century.A square shaped blue/grey paper record sleeve/jacket. It has black print inside a double black frame. - PARLOPHONE RECORD. It lists exclusive artists and examples of records. "The All Australian Record".record-sleeve parlophone