Presentation to David Blyth for his significant contribution to the conference.In Recognition of Mr David Charles Hughes Blyth for this significant contribution to the program of the International Conference on Aging and Visual Impairment, April 5-7, 1994, Atlanta, Georgia. John E Crews, D.P.A., Department of Veterans Affairs, Rehabilitation Research and Development Center J. Elton Moore, Ed. D., Rehabilitation Research and Training Center on Blindness and Low Visiondavid blyth, awards

This is a 6 valve portable transceiver, made in Australia from a British design. It was only used for C.W. (morse code). Its frequency was in the range of 2.5-3.5MHz. Output power 0.5-5 watts. Use was for commando and infantry patrols up to battalion level. It had an external battery pack for low and high voltage supply. 1 man operation in Tropics. An image of this type of wireless set in operation can be found in the AWM Collection: P02952.012 081815 Aluminium box, cover missing. The top has various dials, jacks and one gauge. There is a small length of cable coming from the control panel to a 4 pin plug. On the outside of case is the phrase D (arrow up)D 208 MKIIPlaque on control panel "WIRELESS SET - ZAA 2088 SERIAL NUMBER 168 DATE = 1944"wireless, wwii

Articles in annual report include: President's report, finance report, auditor's report, balance sheet, nursing homes, social work, rehabilitation, low vision clinic, honorary services, auxiliary income, blind members, sport and recreation, life governors. There are reports on John Wicking taking on the President's role from Pat Lightfoot, increasing costs, opening of the Geelong Regional Day Centre and a training course developed for volunteers who do home visitation.1 printed volume with illustrationsassociation for the blind, annual reports, john wicking, h.m. lightfoot, barry farnsworth, patricia heath, john bright, edith lain, edith currell

Overview of the work done by the Association for the Blind and contact details for all those involved in managing the appeal. The 'Sight, Kooyong' appeal aimed to raise $750,000 to provide additional facilities at Kooyong, Oak Park, Geelong, Ballarat, Mildura and Shepparton, expand the George Vowell Day Centre and establish residential facilities at Mt Eliza, expand welfare and rehabilitation services across Victoria, increase work done in the Low Vision Clinic and expand awareness in the prevention of blindness.1 booklet with braille and print on front covernon-fictionassociation for the blind, elizabeth maxwell, neil maxwell, fundraising

The artefact is a white marble tile raised from the wreck of the LOCH ARD (1878). The cargo manifest of the sunken vessel has the entry “Marble £400”. This is placed directly following the entry “Glass (604 cases)”. This conjunction suggests the marble tile was originally part of a consignment intended for use in a ‘high end’ residential or public building project in the gold and wool rich Colony of Victoria. Traditionally, white or cream marble was imported into Britain from the Mediterranean region of Europe, where beds of sedimentary limestone (calcium and magnesium carbonate) had been buried over a long geological period of time. Deep in the earth’s crust, it had been subjected to immense pressures and high temperatures, sufficient to completely re-crystallise the original deposits. Marble beds began as layers of sediment at the bottom of ancient tropical seas, forming from the skeletal remains of calcareous fossils, shell, and coral fragments. The metamorphic process of prolonged compression and heating recrystallised this skeletal material, destroying all signs of the original sedimentary fabric. The resulting ‘true’ marbles of, for example, White Carrara (Tuscany, Italy), Verdi (green) Antico (Thessaly, Greece), and Rouge (red) Languadoc (Carcassone, France), were highly prized in classical decoration (sculpture and friezes) and architecture (temples and arches). Marble was found in nineteenth century Australia, but in small, uneconomic deposits, not suitable for commercial quarrying. The comparative expense of imported marble restricted its use in colonial buildings to carved fireplaces and mantel pieces, or outdoor ornaments such as fountains, statuary and grave stones. If Carrara marble floor tiles were used, they were used sparingly, as an arresting feature in entrance halls for instance. However, most prominent private and public construction used timber flooring, waxed or ‘jappaned’, with carpet runners and rugs (for example the Austin’s Barwon Park Mansion, 1871), or laid tessellated and ceramic tiles of baked clay infused with colour (for example the Chirnside’s Werribee Park Mansion, 1878). HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The wreck of the LOCH ARD is of State significance — Victorian Heritage Register S417 Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A square marble tile retrieved from the wreck of the LOCH ARD. Most of its surface is covered by a thin layer of limestone and marine growth encrustation that is stained rust-red. There is a piece of corroded iron encrusted at an oblique angle on the tile’s rear face. The tile is ‘rough-worked’, cut to shape and size, but not smoothed or polished. There is a companion tile in similar condition in the Flagstaff Hill collection. From visual observation of the original surface (at low magnification) the tile appears to be of white Carrara-type marble.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, white marble, marble tile, carrara marble, colonial architecture, victorian building materials

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown.City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of white rendered, corner house with unpainted variegated brown brick features. Other features include a wide arched porch, tiled roof, tall brick chimney, cast iron work black porch door, window awnings and low unpainted matching brick fence in the foreground with "34" on the white metal letterbox on top of the right brick pillar beside the concrete pathway leading to the porch. Well-established garden including 2 matching pencil pines.murrumbeena, houses, beauville avenue, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, porches, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, rendered houses, corner houses, brick features, awnings, brick fences, metal letterboxes, trees, cast iron work door

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer unknown. City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of an unpainted variegated brown brick house. Other features include a porch with two arches and separate rectangular entry from the path, arched side gate in a wall attached to the house at the side of the drive, feature work on all arches and chimney, white framed sash windows plus a long narrow white window to right of the porch, tiled roof, tall and wide chimney and low unpainted brick fence in the foreground with "40" on the brick pillar beside the drive.40murrumbeena, houses, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, brick houses, beauville estate, porches, lindsay avenue, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, jennings, arches, chimneys, brick features, sash windows, brick fences

This small green bottle has been handmade by a glassblower and is the typical shape of a carbonated soda or mineral water bottle. It was made from 1840s-1870s. The bottle was found in the coastal waters of Victoria about 100 years from when it was made. It is part of the John Chance Collection. Glassblowers made bottles like this one by blowing air through a long pipe and into molten glass at the end of it. The shape of the glass would be blown out to fit into the shape of the cylindrical dip mould. Once it set, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck and another ponty tool to push up and form the base. The bottle would be cracked off the end of the glassblower’s pipe and a blob of molten glass would be wrapped around the top of the neck and shaped to finish the lip of the bottle. The seal was usually a cork, held in place with a ball-wire fitting attached between the upper and lower parts of the neck finish. This style of handmade bottles usually had thick glass so that it could be heat-sterilised, then re-filled. The bottles would often have horizontal bubbles in the applied finish, caused by twisting the glass, and vertical bubbles and diagonal lines in the body from it being blown, and a pontil mark in the base where the ponty tool had been attached. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 1800s. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle; green glass, soda or mineral water style, handmade. Applied finish, blob double ring collar; upper is wide and rounded, lower is a narrow ring. Diagonal lines in glass on neck and shoulder. Low shoulder mould seam. Body is matt and tapers inward towards base. Shoulder and neck are shiny. Push-up base with pontil mark. Uneven base. Bubble on top of lip. Sediment on inside surfaces. White rubbing line and scratches on outside. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, dip mould, mouth blown, pontil mark, 19th century bottle, collectable, soda bottle, mineral water bottle, green glass, blob finish, push-up base

This small green bottle has been handmade by a glassblower and is the typical shape of a carbonated soda or mineral water bottle. It was made from 1840s-1870s. The bottle was found in the coastal waters of Victoria about 100 years from when it was made. It is part of the John Chance Collection. Glassblowers made bottles like this one by blowing air through a long pipe and into molten glass at the end of it. The shape of the glass would be blown out to fit into the shape of the cylindrical dip mould. Once it set, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck and another ponty tool to push up and form the base. The bottle would be cracked off the end of the glassblower’s pipe and a blob of molten glass would be wrapped around the top of the neck and shaped to finish the lip of the bottle. The seal was usually a cork, held in place with a ball-wire fitting attached between the upper and lower parts of the neck finish. This style of handmade bottles usually had thick glass so that it could be heat-sterilised, then re-filled. The bottles would often have horizontal bubbles in the applied finish, caused by twisting the glass, and vertical bubbles and diagonal lines in the body from it being blown, and a pontil mark in the base where the ponty tool had been attached. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 1800s. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle; green glass, soda or mineral water style, handmade. Rough applied finish, blob double ring collar; upper is wide and rounded, lower is a narrow ring. Diagonal lines in glass on neck. Low shoulder mould seam. Body is matt, tapers inward towards base. Shoulder and neck are shiny. Push-up base with pontil mark, visible through glass. Marks on heel, glass thickness varies. Uneven base. Bubble in glass. Sediment on inside surfaces. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, dip mould, mouth blown, pontil mark, 19th century bottle, collectable, soda bottle, mineral water bottle, green glass, blob finish, push-up base

This olive green bottle was handmade by a glassblower and is the typical shape of a ‘gallon’ type liquor bottle, which has the capacity of one-sixth of an imperial gallon, about 750ml. It was made around the mid-to-late 1800s. The bottle was recovered from an unnamed shipwreck in the coastal water of Victoria. It is part of the John Chance Collection. This bottle has a pontil mark in the centre of the base and four pontil marks around the heel. It also has tape around its mouth and lip, adding a little more interest to its history. Glassblowers made bottles like this one by blowing into a long metal pipe or reed with a blob of molten glass at the end of it. The shape of the glass would be blown out to fit into the shape of the mould. Once it set, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck and another tool to finish the base. The tool that the glassblower or his assistant used to steady the bottle left four marks in the heel of the bottle. The bottle would be cracked off the end of the glassblower’s pipe and a blob of molten glass would be added to the top to form the mouth and lip of the bottle. The seal was usually a cork, often held in place with tape. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 1800s. This bottle is a little more significant than other similar bottles in our collection because it has multiple pontil marks, four around the heel of the base as well as one in the centre of the base. These marks were left by the tool or tools used to hold or steady the bottle as the maker completed the process. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal water in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle, dark olive green glass, tall thin Gallon type. Applied mouth with remnants of tape around lip. Lip is straight and narrow. Low shoulder seam; glass above seam has more shine than below seam. Body tapers gently inwards to base. Rim of heel has four equidistant pontil marks. Base is concave with central pontil mark. No inscriptions. Handmade bottle. Sediment inside bottle on one side, top to bottom. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, handmade, mouth blown, pontil mark, blown bottle, liquor bottle, 19th century bottle, collectable, olive glass, green glass, mould, 1800s bottle, multiple pontil marks

Australia Twice Traversed the romance of exploration being a narrative compiled from the journals of five exploring expeditions into and through Central South Australia and Western Australia from 1872 to 1876 by Ernest Giles, published by Sampson Low Marston Searle & Rivington London. Contains 320 pages with black and white illustrations in a blue/green hard cover with gold lettering & illustrations of camels, sticker inside front cover Sandhurst Free Library Temperance Hall View Street.Ernest Gilesbooks, natural history, exploration

Coloured slide transparency. Image is of a female seated on a low stool. She is wearing a long sleeved white top and white boots, with a metallic bra. She has some dark coloured clothing across her lap. Another person is standing to her left handing her another metallic piece of the costume. Another person is standing to her right in shorts and t-shirt. On the lower edge of the white border the words Fancy Dress Party Narena Lindrea have been handwritten.Kodachrome Transparencyslide, bendigo, bendigo institute of technology

Yields information about the loading and departure of Ballarat No. 25 to Bendigo in 1960.Digital image from the Wal Jack Ballarat Album of a photograph of No.25 being loaded onto the Yellow Express Low Loader within the depot - 6-10-1960. Has Les Denmead standing alongside. See image i2 for rear of photograph. See image i3 for hi res scan of print. See image i4 for hi res scan of negative. See Reg Items 1478, 5241, 5242, 7759 and 7766 for a series of 5 photos of this event.On rear of photograph in ink "SEC, Ballarat Loading No. 25 for Bendigo onto Yellow Express Loader - Wendouree Depot Ballarat 6-10-1960." and in top Right hand corner Wal Jack stamp with "T255" written in.trams, tramways, transporting trams, yellow express, bendigo, moving trams, tram 25

Diggers & Mining. Gold. (3) The thriftiness of the Chinese and their low standard of living made the whites afraid of cheap labour and eventual unemployment. (4) The rapid increase in their numbers led to a fear that the future of Victoria as a white colony was threatened. (There were about 42,000 Chinese in Victoria in 1859 - all men, comprising one in seven of the adult male population, In that year, between one-quarter and one-third of the diggers were Chinese.) Markings: 4 994.GOL. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Yields information about the transportation of horse tram No. 1 for display elsewhere.Series of six colour prints by Carolyn Dean of the offloading of cable tram No. 1 after being displayed at the Central Highlands Historical Association fair on 9 October 1994. .1 - both wheels almost on the rails .2 - ditto .3 - on the rails again .4 - pushing the car up the hill at bit to clear the low loader .5 - waiting by itself .6 - rolling down the hill to the junction. Printed on Kodak paper For additional photographs see Reg Item 4064.1, 4064.2On rear in ink "9.10.94, C. Dean"btm, horse tram, chha, wendouree parade, tram 1

Negative (120) of a cable grip car outside the Palace Theatre 790 Nicholson St Fitzroy. Tram has a side advertisement for the New Palais Royale, at the Exhibition buildings for dancing every evening. The Theatre was opened in 1920 and demolished in 1959 - now a car wash. See http://cinematreasures.org/theaters/52757 accessed 28/5/2019. A low resolution A4 laminated was received with the negatives. Hi Res image filed in the dbtext/hawthtramcoll/Large Images/htd3590large.jpgtrams, tramways, cable trams, nicholson st, fitzroy, theatres

Negative (120) of a cable saloon car 520 outside the Railway Hotel 800 Nicholson St Fitzroy. The tramcar has the destination of Nicholson St and has an unusual (rare) decorative panel on the lower side. The Railway Hotel remains active. The letters "RA" can be seen on the left hand side of the car. Next door is newsagent selling The Argus and the Sporting Globe. A low resolution A4 laminated was received with the negatives. Hi Res image filed in the dbtext/hawthtramcoll/Large Images/htd3591large.jpgtrams, tramways, cable trams, nicholson st, fitzroy, hotels, tram 530

NoneView of a laneway in pen. Black and white. The laneway begins lower centre of image and recedes into image, halting 1/3 into the image. It is flanked by a high wooden fence on the right and a low wooden pole fence on the left. Behind fence on the right is the top of the wall and the roof of a house. One the left there is a house on a slight hill, rising above the road. There are houses in the background, with power poles and antennae visible above the roof lines. Mounted in black matt. Framed in silver frame with glass.Front: NWJones 71/ (lower left, black felt tip pen) Back: "Laneway" N.W. Jones 31 Linden St Box Hill Sth $25.00 (centre, black felt-tip pen)street scene, buildings, drawing

This baby’s feeding bottle was made by Agee (Australian Glass Manufacturers) and marketed by the Crown Crystal Glass Company. It is made of pyrex which is a brand of glass first produced by Corning Inc. of America in 1908. Pyrex is a clear low-thermal-expansion borosilicate glass used for laboratory glassware and kitchenware. The use of pyrex bottles became more prevalent in Australia in the second half of the 20th century and baby’s bottles made of pyrex were popular as they were easily sterilised in the home environment. This baby’s bottle has no known local provenance but it is retained because it is a good example of the advancement in infant health and welfare over the past 80 years. This is a baby’s feeding bottle made of glass (pyrex). The body of the bottle is hexagonal-shaped (circular with rounded edges). It has a circular-shaped neck and an open top with a moulded glass around it. The bottle has no feeding nipple or stopper. There are measurement marks on the side of the bottle up to 8 ounces. ‘The Ideal Agee Pyrex Feeder’ ‘AGM 1S 1561 6’ infant welfare, history of warrnambool