A clothes iron is used, when heated, to press clothes to remove wrinkles and creases.The early irons were heated over a stove or in a fire. Irons were used very early in time and cast-iron irons during the 18th century. Mrs. Potts invented many irons starting from an early age thus making a difference to the clothing industry. She invented clothes irons with detachable wooden handles. Her first patent was in October 1870.This iron was used in the Kiewa Valley.Vintage cast iron body invented by Mrs Mary Florence Potts 1890s to 1940s. Detachable wooden handle (not attached) was cooler than a metal handle. It is double pointed for ironing in both directions. Body is hollow the top part being held by two screws. It can be filled with a light material. The No. 1 size is for specific ironing task. compared with No. 2 or No. 3. One handle with other bases enabled some to be reheating while using one. This iron has a stand. Formerly KV88B)Mrs Potts / No. 1 / Iron"" embossed on the topmary florence potts iron, cast iron, laundry, mrs potts

"Alexander Colquhoun [Herald art critic 1914-1922 and feature writer for the Age 1926-1941] ... took private students in the first decade of the century, and one of these was Winifred Miles, who after her marriage in 1910 lived the remainder of her life in Ringwood. ... (She) began by doing charcoal studies of animals when she was in Balranald, but in later years moved to oils and then watercolours, travelling around Ringwood to find places to paint by means of a pony-driven governess-cart. She won prizes for paintings in the Royal Melbourne Shows." - Hugh Anderson - Ringwood, Place of Many Eagles [p.217].Painting with cardboard border in glass-fronted frame. Painted from an original black & white photograph, Catalogue Reg No. 1347 recorded as "Ringwood's first Post Office showing first Postmistress, Miss M. Thompson and her mother. 1890". (South side of Main Street (Maroondah Highway), approximately 300 meters west of Ringwood Railway Station). Writing on back of original photograph reads, "Grandma and Auntie Martha Thomson 1890". (Difference in painting date and photograph date indicates years as shown are approximate only). Sticker on back of frame - "Ringwood Framing Gallery, 233 Whitehorse Road Ringwood, Phone 8704930"

Yields information through letters to the Editor about the impact of tram fare rises on Ballarat Residents, noting wages at the time.Photocopy, of part of the front page of The Courier, 16/6/1951, titled "Tram Rises Not Happy Thought". Gives the impact of the fare rises, doubling the weekly travel cost. Has a map showing the tramway routes and section destination to apply from 1/7/1951. The main problem was the cancellation of the concessional weekly ticket, revision of sections. Quotes Mr. T. A. Farr, Manager SEC Ballarat, notes differences in fares, penny surcharge on Sundays and holidays. On the front page are notes on the death and funeral arrangements of Ben Chifley.trams, tramways, public transport, fares, sec

(1) Summer Autumn Herbaceous Border VCAH 1984 - Plant Plan. (2) 2 tracing paper copies The Herbaceous Border VCAH Burnley 6.7.87, names of plants around it. (3) Tracing paper copy, The Herbaceous Border Planting Schedule 12.8.87 and 1 paper copy with annotations in pencil. (4) Planting Plan, 1 with "1991" written on it, and several sketches and copies. (5) Coloured plan, names of some plants different to (4). (6) Coloured plan with some differences to (5). Dated 1997.herbaceous, vcah

Commonly known as Miner's Complaint, silicosis, tuberculosis or a combination of both resulted in phthisis. This was directly caused by the inhalation of silica dust resulting from drilling into quartz reefs. Lungs weakened by silicosis were more susceptible to the TB bacterium. At first the difference between these two ailments was unknown as was the mode of the spread of TB. In 1903 there was a call for better ventilation in mines and for the use of water hoses to dampen down the dust. It is estimated that the rate of associated deaths in Bendigo was six times that of the national average.A 12 page paper by Frank Cusack detailing the extreme rates of death by Silicosis and Tuberculosis among the early settlers of Bendigo and the willful lack of action by the mine managers to improve health and safety.frank cusack, silicosis, tuberculosis, bendigo mining

Report - possibly only page 1 of a multiple-page report - "Inspection of Birney Cars at Adelaide", dated 11/12/1935 about the differences between the Geelong Birney safety car and those of the Adelaide tramways that were based at the Port Adelaide depot. Notes the condition of the cars, whether they have been overhauled, floor coverings, and brake gear. The Author (VP) notes that they are in good condition. The trams were subsequently purchased and entered service in Geelong during 1936.Yields information about the condition of the Birney trams at Port Adelaide prior to acquisition.Typed document glued to another sheet of quarto paper.tramways, geelong, tramcars, birney tramcars, port adelaide

An Awl is used to make indentations in wood or other materials in order to ease the insertion of a nail or screw. The blade is placed across the fibers of the wood, cutting them when pressure is applied. The Awl is then twisted through 90 degrees which displaces the fibers creating a hole. This then gives a start to the nail or screw being inserted into the work piece. There is a difference between an Awl and a Bradawl, the Awl is a small hand-held tool with a sharpened point and a Bradawl is similar but is flattened at its tip to produce a sharp chisel edge.An everyday tool used in carpentry, the subject item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as believed to have been produced during the 20th century.Awl with wooden handle with brass ferrule & steel pointed shaftStamped on handle J McArthur (owner)flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, awl, j mcarthur, carpenders tools, woodworking tools, nail starter

.1 - Close up photo of a single trucker and a bogie tram showing difference in bumper heights. .2 - Photo showing the front of a single trucker (No. 26?) with the motorman leaning out the small window with a cigarette in hand. Photo dated 1970. .3 - No. 34 parked on "0" road. Photo dated 1971. .4 - Similar to .2, driver looking at photographer. .5 - Bogie tram parked on "0" road, photo dated 1970. .6 - No. 27 at Lydiard St North terminus - photo dated 1970. Has a strong association with a Melbourne tram driver who assembled the scrap book and series of photos of Ballarat trams at the time of closure. Yields information about the tram operations.Set of six black and white photographs contained with Reg item 5988, a Stamford Kiwi School Scrap Book - card covers, 23 sheets, spiral bound, titled "Ballarat", prepared by Ellen Butland of Auckland following the closure of the SEC Ballarat Tramway system.closure, trams, tramways, ballarat, lydiard st nth, tram 34, tram 27, depot, crews, motormen

The Mistle Thrush is native to Ireland and Scotland, North Africa and parts of Asia. It is known as a large, aggressive and powerful bird. They have several different calls: the main call, given by both sexes, is a dry chattering 'krrrr', louder when the birds are alarmed or excited. There is also a squeaky 'tuk' contact call. 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 Mistle Thrush has a pale grey-brown upperpart and a greyish-white chin. The yellow/buff breast and off-white belly are marked with round black spots. The long tail has white tips on the outer feathers, and the underwing coverts are white. The glass eyes are dark brown and the bill is blackish with a yellow base to the lower mandible. The legs and feet are yellow/brown. There is no plumage differences between the male and the female Mistle Thrush. This particular specimen stands upon a wooden platform and has an identification tag tied around its leg.Label: 111a. / Mistle Thrush / Catalogue, Page 28. / Other Label: 57. / Turdus viscivorus /taxidermy mount, cancel, taxidermy, burke museum, beechworth, australian museum, bird, mistle thrush

Agfa plastic mount (blue base, white cover) with a photo of No. 39 at Sebastopol terminus, with No. 1 end facing. Photo taken early 1961. Tram is in the process of being fitted with dash canopy lights and tiger strips. Has the Royal Hotel Sebastopol in the background. Note differences between tram in depot which has been fitted with step and access door at this end. Slide rescanned at 3200 dpi 24-10-2020, jpg replaced, tiff file retained. This file was scanned in 2003 and may show colour changes."BAS 14" in penciltramways, trams, sebastopol, royal hotel, tram 39

Artist's Statement: "Every Wednesday at 10 o'clock in the morning, from the beginning of Winter, 2011 to the end of Autumn, 2012, I photographed the same scene in my Ballarat garden. While the main subject is the weather of the moment, it includes a walnut tree killed in the recent drought, and a deciduous ornamental plum. There are 52 Wednesdays recorded in the tapestry; and 4 frames showing the seasonal changes in the plum tree. The colours bordering each panel are those of deciduous leaves on trees in my garden that week. It is said we only know eternity in the pulse of the moment; and permanence in the cycle of the seasons."Millicent REED Initally training in tapestry from Sara Lindsay at an ATW community class Millicent Reed received a Diploma of Art (Tapestry) from South West TAFE in 2009. Her strength and direction comes from being part of the unbroken continuum of tapestry art from the beginning of recorded time. Similarly, the sameness and difference of time itself has become the focus of all her work. (https://americantapestryalliance.org/exhibitions/tex_ata/down-south-tapestry-in-australia/down-south-exhibitors-biographies/, accesed 03 April 2020)Woven tapestry in eight panels, each with seven images in each panel measured 212.0 x 57.5 cm. weaving, seasons, tapestry, ballarat, weather, millicent reed

In the 2000s Legacy released a range of Legacy Bears to expand the merchandise available for sale during Legacy Week and at other fundraising opportunities during the year. This bear was new in 2022 and is in the navy camo uniform. Navy Camo wears The Royal Australian Navy's new Maritime Multi-Cam Pattern Uniform commenced rollout in October 2021. It brings uniformity across Defence as it features the familiar design of the Australian camouflage uniform but retains the maritime grey tones a key differences unique to Navy requirements. Sometimes special editions of the bears were produced. In 2021 the price was increased to $20 per bear.An example of the type of products sold along with Legacy Badges for fundraising in the 2010-2020s.Legacy bear dressed in a camo naval uniform with a printed cardboard tag.Printed tag gives the price as $20.legacy appeal, fundraising, legacy bear

In 1895 artist Gordon Coutts was commissioned by Elizabeth Harding (Mrs. Silas Harding), a wealthy pastoralist, to paint this portrait of Prince Albert. The portrait was completed by 1896 and is a copy of an original by German artist Franz Xaver Winterhalter (1805-1873). In 1843 Winterhalter was commissioned to paint matching portraits of Queen Victoria and Albert, the Prince Consort. These originals hang in the Garter Throne Room at Windsor Castle and are part of the UK Royal Collection. Queen Victoria’s appreciation of Winterhalter began after she saw portraits by him of other European monarchs. Accordingly, between 1842 and 1861 he made fifteen visits to England and painted over 100 portraits of Her Majesty, the royal family and other friends and dignitaries. There are a number of notable differences in the original Winterhalter work and this painting. The local artist Coutts has changed the colour of the Prince’s cloak from deep blue/black to red (perhaps as a result of working from a black and white photograph). Other differences include extra satin shoulder ribbons, a simplification of the furnishings, notably the floor, and an inexact representation of the medallions worn; collars of the Order of the Garter, Bath, and the Golden Fleece. The painting is framed to match the official copy portrait of Queen Victoria, with the coat of arms of Prince Albert of Saxe-Coburg and Gotha, fixed atop the frame in place of the royal crown.Framed portrait, oil on cotton, of Prince Albert. The Prince Consort wears the robes of the Order of the Garter, holds a Field-Marshal’s baton, and is posed in front of a curtain and colonnade. Timber frame with a layer of gesso and decorative composition ornaments. There are rose, scotch thistle, clover leaf and Acanthus ornaments. The coat of arms that sits on top of the frame is a combination of carved timber and composition elements.Signed lower right corner in red brushpoint: ‘after Winterhalter / By Gordon Coutts / 1896’.albert, prince consort of victoria, queen of great britain, 1819-1861, winterhalter, franz xaver, 1805-1873, coutts, gordon (1865-1938)

Used by the Mah Meri people, Kuala Langat, Selangor (Malaysia), 1936. While Malaysian, this blow-gun is analogous to that used by Indigenous groups from South America with curare. The gun is of bamboo, with a highly polished inner tube of the same. The darts are reeds, made directional by knobs of a tudor wood, with poison made from the ipoh tree and the Strychnos vine The blowpipe examined in this report consists of a long bamboo tube with engraved floral motifs on the outside and a second bamboo tube inside. The mouthpiece is attached to the inner tube and the whole piece can be removed from the outer casing. There is a quiver, filled with darts, a small poisons receptacle, and a single dart and hollow bamboo tube, stored outside the quiver. The objects were donated as a whole to the museum in 1948 by Dr Thomas Edward Marshall. The engravings on the outer case originate from the Mah Meri community in Kuala Langat, Selangor, Malaysia. The floral ‘motif is of a vine with small incisions to reflect the properties/identity of the plant (poisonous/harmful)’. These motifs are generally handed down through the generations and can be used for kinship identification. They are also believed to enhance the performance of the blowpipe. The outer casing is made up of several pieces of bamboo fused together. Broken or damaged blowpipes were not discarded. Broken sections of a pipe could be removed and replaced as required, and the observably different bamboo sections suggest this has taken place at some point. Sap from the perah tree is used to seal or glue the pieces together and the glue is reversible by heating. The Mah Meri created a poison from the ipoh tree for use in hunting. The poison acted swiftly to kill the animal and did not result in secondary poisoning. The way in which the Mah Meri hunted is analogous with other blowpipe hunting practices elsewhere in the world. Blowpipe hunting practices represent a starting point for the introduction of standardised muscle relaxants into surgery during the 20th Century. In parts of South America, plant poisons were used to tip the darts and kill prey. These poisons are known as curare. The crucial ingredient in curare was Chondrodendron tomentosum root. Raw curare formed the basis for Intocostrin, the first standardised, mass produced muscle relaxant. The introduction of muscle relaxants dramatically changed surgery, allowing for more precise surgery and better patient outcomes. Bamboo blowpipes can be found in many museum and heritage collections, particularly those with strong colonial origins or influence. Blowpipes from Borneo seem to be well represented, along with those from Guyana. Blowpipes from Malaysia appear to be less common. More research is required to establish the rarity or representativeness of the blowpipe. Ownership of the blowpipe can be traced back from the museum to Dr Thomas Marshall. It has also been established the blowpipe’s point of origin is among the Mah Meri people of Kuala Langat, near Kuala Lumpur. There is no information regarding the way in which Marshall came into possession of the blowpipe. Provenance cannot be fully established. Despite these difficulties, the blowpipe represents a full set of hunting implements. It is accompanied by a quiver, also decorated with a floral motif, a set of bamboo darts, and a poison receptacle. The quiver also has a waist strap which enabled the owner to strap it to themselves, preventing its loss while hunting. Each object within the set is in good condition, although the inner tubing is beginning to split lengthwise and should not be removed from its outer casing. While the blowpipe and accompanying objects are not of South American origin, the techniques and poisons used are analogous and this object has high interpretative capacity. Hollow bamboo blowpipe with mouthpiece at one end. Two different types of organic fibre have been used at difference points along the shaft to secure different segments of the blowpipe. The item consists of two tubes a thin and unpolished inner tube that has degraded and can no longer be removed, and a polished and decorated outer casing. The outer casing is made up of different sections of polished bamboo, some pieces have developed a deep red hue which is likely the result of prolonged polishing and regular heating over many years, other sections are a lighter yellow indicating that they are newer pieces of bamboo. The entire outer tube is covered in a varied sequence of genomic patterns. The exact meaning of these patterns is unknown however they are passed down through family lineage, the exact family of origin is unknown. Connected to the mouthpiece if it is removed from the inner casing is a piece of cloth with the numbers 2241 written in black ink, their purpose is unknown.curare, malaysia, bamboo

Demonstrates how ESCo managed Weekly tickets during the late 1920's and yields information about the way the system was arranged. The source of the ticket, NSW tramways is significant in that it was obtained by them as a sample. Morning and Evening Weekly Ticket, price 1/6, printed for Week 1, that is not available for Sundays or Holidays. Ticket printed on light weight card, in two colours, teal and orange, numbered 1338 available only between Mount Pleasant and Doveton St. Notes the conditions of use, the time available for which the ticket may be used and where. Printed by J.J. Miller, Melbourne. Ticket has been removed from a block - has staple holes at the top. See Reg Item 2948 for circular detailing their use at the commencement of the issue of this style of Weekly Tickets - some detail differences in the style and colours later on."1/3" in pencil in bottom right hand corner.trams, tramways, tickets, weekly tickets, esco

Murray Comrie Collection.Sepia photographic postcard, with image of soldiers in uniform posed in a makeshift studio setting, with a prop boulder at left. Subjects are residents of Tarnagulla and other towns in surrounding district who served in First World War, dating the image to circa 1914-1918. Reverse is printed with postcard template. Handwritten note on reverse gives the following names: (From Left to Right) Back Row: Luther Stone, George Corrie, Cash Fitzgerald, Harry Biggs, Geo. Williamson Front Row: Bert Runting, Claude Whimpey, Bill (WIlliam) James, Bert Gray Same image as THA-2019.0026 (slight difference in names) Handwritten on reverse '1914-19 War' and 'Tarnagulla Boys' plus names.tarnagulla, waanyarra, war, military, service, soldiers, veterans, ww1, first world war, stone, corrie, fitzgerald, langan, runting, whimpey, james

The autoharp is a portable, stringed musical instrument. It is a member of the zither family but differs from the traditional zither in that chords can be easily played. The buttons on the chord bars of the autoharp can be pressed onto the strings to make different sounds. The labels on the autoharp denote the chords and the notes that the strings play. The instrument is played with the box resting on a flat surface such as a tabletop, with the left hand moving the chord buttons and the right hand strumming the strings, usually with a pick or plectrum . The autoharp was invented around the mid-1880s. There are models now available that have variations in the numbers of strings the instrument has, and differences in the sounds of the chords. Typically the autoharp has 36 strings.This autoharp is an example of musical instruments played at social gatherings and concerts in the late 1800s and early to mid 1900s. It was easily carried by the player. It is usually held in the crook of the left arm with the narrow end resting on the should and the left hand supporting the wider end, the hand pressing on the chord buttons. The right hand strums in a similar way to a playing a guitar, usually holding a soft pick or plectrum.Autoharp, painted dark brown with red rose flower decals. The portable stringed musical instrument is a member of the zither family. The autoharp is shaped like a hollow box with one corner cut off. Strings of various lengths are attached with equal spacing, parallel to the long edge of the box. A slotted board rests over the top of the strings at one end, and buttons on the slots can be pressed onto the felt-padded bars below them to produce chords. There are labels on the upper and lower boards that denote chords and musical notes.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, musical instrument, stringed instrument, harp, auto harp, zither, portable

"Bialik Appeal: Home Must Guide", published in The Jewish News, 8 December 1967. Bialik College has a different conception of modern Judaism to that of other Jewish day schools in Melbourne. Mr. Joe Solvey, veteran Zionist leader and president of the College's 1967 Appeal, said that this difference has three parts. The college believes that religious observance should be dictated by the home rather than by the school. "We provide the knowledge but we do not believe in enforcement so as to provide a division between the home and the school". Israel is the central theme in the curriculum and Hebrew is taught as a living language to serve as the medium of communication between Israel and the Disapora..."fundraising, major donors, shakespeare grove, hebrew

Letter dated 11 September 1974 from (Legatee) H.L. Berg of Bernard Evans, Murphy, Berg & Hocking Pty. Ltd., Architects & Town Planners, to Legatee A. Quayle, Chairman of the Housing Steering Committee. The plan (01677.2) is undated and unnumbered, but produced by the same architects and sitting next to the letter in the file. The letter refers to a Drawing No.5 and sets out the difference in accommodation and areas from Drawing No. 1. It is unclear whether the plan is No.1 or No.5. At this time Melbourne Legacy was considering demolishing Blamey House and developing the site to build units to accommodate senior children initially and ultimately widows. (Cat. No. 01676). This was never put into practice.Part of the history of Melbourne Legacy's involvement with residential care for children.Photocopied unsigned letter and an architectural plan. residences, blamey house

Reverend Alexander Morton was the Presbyterian minister in Orbost between 1894 and 1904. Rev. Alexander Morton earned great respect from the Orbost community, during his ministry here between 1894-1904. He brought with him from the New Hebrides timber which was used for the pulpit. Affectionately known as “Sandy” Morton, he was very friendly and endeavoured to reach all his bush parishioners, often on horseback. He was known up the Gelantipy Valley as an itinerant Preacher with a difference, he often doubled as a dentist, who was quite adept at pulling teeth, often with a pair of pliers. ( information from Margaret Smith Newsletter August 2012)Reverend Alexander Morton was a prominent Orbost citizen in the late 19th - early 20th centuries. He was associated with the Presbyterian Church in Orbost.A black / white portrait photograph on a dark grey buff card. It is a head and shoulders posed photograph of a bearded man in a suit.on back - Rev. Alex Morton, Presbyterian Minister at Orbost"morton-alexander presbyterian-church-orbost

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

18NBH - Excursion Car (28) Puffing Billy Service History or Notes Between 1979 and 1988 the Puffing Billy railway built six more NBHs, numbered 18-23. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 18NBH entered traffic on 19/4/1997; Currently these six steel framed NBHs (numbers 18-23) are being modified to provide double doors and space for wheel chairs at one end. The photo on the right shows the exterior of one such NBH. These have a seating capacity of 24 passengers.Historic - Puffing Billy Railway Narrow Gauge - Passenger Rolling Stock: Excursion Car18 NBH Passenger Carriage - Excursion Car18NBHpuffing billy railway, pbr, rolling stock , 18 nbh, narrow gauge - passenger rolling stock, passenger carriage - excursion car

19NBH - Excursion Car Puffing Billy Service History or Notes Between 1997 and 1998 the Puffing Billy railway built six more NBHs, numbered 18-23. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 19NBH entered traffic on 5/12/1997 Currently these six steel framed NBHs (numbers 18-23) are being modified to provide double doors and space for wheel chairs at one end. The photo on the right shows the exterior of one such NBH. These have a seating capacity of 24 passengers.Historic - Puffing Billy Railway Narrow Gauge - Passenger Rolling Stock: Excursion Car19 NBH - Passenger Carriage - Excursion Car made of wrought iron and timber19NBHpuffing billy, pbr, rolling stock, 19 nbh, narrow gauge - passenger rolling stock, passenger carriage - excursion car

20NBH - Excursion Car Puffing Billy Service History or Notes Between 1979 and 1988 the Puffing Billy railway built six more NBHs, numbered 18-23. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 20NBH entered traffic on 19/12/1997 Currently these six steel framed NBHs (numbers 18-23) are being modified to provide double doors and space for wheel chairs at one end. The photo on the right shows the exterior of one such NBH. These have a seating capacity of 24 passengers.Historic - Puffing Billy Railway Narrow Gauge - Passenger Rolling Stock: Excursion Car20 NBH - Passenger Carriage - Excursion Car Steel Iron and timber20NBHnbh, puffing billy, narrow gauge

23NBH - Excursion Car Puffing Billy Service History or Notes Between 1979 and 1988 the Puffing Billy railway built six more NBHs, numbered 18-23. These had steel frames, padded seats, and a wide "window sill". At first glance they look the same as the previous NBHs. There are other minor construction differences due to the use of steel framing. 23NBH entered traffic in 1998. Currently these six steel framed NBHs (numbers 18-23) are being modified to provide double doors and space for wheel chairs at one end. The photo on the right shows the exterior of one such NBH. These have a seating capacity of 24 passengers.Historic - Puffing Billy Railway Narrow Gauge - Passenger Rolling Stock: Excursion Car23 NBH - Passenger Carriage - Excursion Car 23NBHpuffing billy, pbr, rolling stock , 23 nbh, narrow gauge - passenger rolling stock, passenger carriage - excursion car

Erin McCUSKEY Erin is a filmmaker, photographer and digital media artist with a bent on ‘difference’. She is the Creative Director at Yum Studio where she has forged a national reputation for delivering innovative and unique creative media projects, using projection, media, social media and social broadcasting. Ern McCuskey has a passion for producing projects with human rights at their core. Her short films, installations and commissions have screened at Museum of Australian Democracy at Eureka (MADE), Melbourne International Film Festival (MIFF), Flickerfest, Indiefest, Gertrude St Projection Festival, Ballarat International Foto Biennale, numerous exhibitions, performances and collections. Erin’s work is informed by the knowledge that difference is a necessary part of society and the core of a healthy one. She is passionate about creating media that is thought provoking, possibly controversial and also entertaining. Media creation is a group pursuit and those behind the camera are more often control the balance of power, therefore she is committed to unique collective story development. “I believe that art is in the everyday, that we all can, should and do, create. My work is informed by the moving images of my siblings as children recorded by my father, the houses and homes, spaces and events, which live on as objects themselves in various homes as photos, archives, projected and loved. These flickering images were embedded and now I spend time creating more.” (Central Highlands Art Atlas, http://www.artsatlas.com.au/erin/) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Three photographs mounted side by side (portrait orientation). #1 image of curtains #2 image of sculpture of man reflected in a mirror #3 light reflecting through crystal door handle. Slight scratching on front bottom of frame. art, artwork, erin mccuskey, mccuskey, photography, foto, available

Demonstrates how ESCo managed Weekly tickets during the late 1920's and yields information about the way the system was arranged. The source of the ticket, NSW tramways is significant in that it was obtained by them as a sample. Morning and Evening Weekly Ticket, price 1/6, printed for Week 1, that is not available for Sundays or Holidays. Ticket printed on light weight card, in two colours, teal and light green, numbered 2600 available only between Orphanage and Doveton St. Notes the conditions of use, the time available for which the ticket may be used and where. Printed by J.J. Miller, Melbourne. Ticket has been removed from a block - has staple hole at the top with part of the ticket missing. See Reg Item 2948 for circular detailing their use at the commencement of the issue of this style of Weekly Tickets - some detail differences in the style and colours later on."1/3" in pencil in bottom right hand corner.trams, tramways, tickets, weekly tickets, esco

Murray Comrie Collection.Sepia photographic postcard, with image of soldiers in uniform posed in a makeshift studio setting, with a prop boulder at left. Subjects are residents of Tarnagulla and other towns in surrounding district who served in First World War, dating the image to circa 1914-1918. Reverse is printed with postcard template. Accompanied by a note that gives the following names: (Left to Right) Back Row: 1. Luther Stone 2. Geo. Corrie (Waanyarra) 3. Cashen Fitzgerald 4. Bill Langan 5. ______________ 6. _______________ Front Row: 1. Bert Runting 2. Claude Whimpey 3. Bill James 4. _________________ Same image as THA-2019.0201 (slight difference in names).Stamped on reverse 'M. Comrie'. Hadwritten on reverse 'M. Comrie' and 'For Le Messurier, per Bill Gore' and '1'.tarnagulla, waanyarra, war, military, service, soldiers, veterans, ww1, first world war, stone, corrie, fitzgerald, langan, runting, whimpey, james