This handmade green glass bottle was made using the turn-moulded or rotated-moulded method, a variation of the mould-blown process. The bottle has the remnants of a cork seal in its mouth. It possibly contained ginger beer, soda or mineral water, flavoured drinks, liquor or wine. TURN-MOULDED BOTTLE production method This bottle was handmade using the ‘turn-moulded’ process, one of a variety of mould-blown processes that followed the earlier mouth-blown method. The maker would add a portion of hot soft glass to the end of his blowpipe then blow air through the pipe while placing the end inside a bottle mould. The mould was then turned and twisted, giving the bottle a round, seamless body, and usually a round indented base. The cooled body of the bottle would then be finished with the addition of an applied top. A small amount of soft glass would be applied to the top of the bottle and a lip would be formed using a tooling implement. A concentric ring would also form below the lip, caused by the rotated lipping tool. The bases of bottles made with the turn-moulded method were generally not embossed but would commonly have a mamelon or ‘dot’ in the centre of the base. SEALING THE BOTTLE After filling this type of bottle with its contents it is then sealed with a straight, cylindrical cork with the aid of a hand operated tool called a bottle corker. The bottle corker compresses the cork as it is driven into the bottle. Once inside the bottle the cork expands evenly into the opening to tightly seal the contents – the denser the cork the better the seal. This turn-moulded glass bottle is made distinctive due to its round seamless body and indented base.Bottle, dark green glass. Handmade turn-moulded bottle with seamless body and tooled lip. Deeply indented base has push-up mark with a ‘mamelon’ bump in the centre. Bottle is straight from base to half height, then tapers to a shoulder over the next quarter, than almost straight up to the mouth. There is a portion of cork in the bottle’s mouth and dry remnants in the bottle’s base. Possibly used for ginger beer. Produced in 1880s to 1910’s. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, green glass bottle, handmade glass bottle, bottle with indented base, turn-moulded bottle, rotate-moulded bottle, tooled lip on bottle mouth, applied lip bottle, bottle corker

This handmade green glass bottle was made using the turn-moulded or rotated-moulded method, a variation of the mould-blown process. The bottle has the remnants of a cork seal in its mouth. It possibly contained ginger beer, soda or mineral water, flavoured drinks, liquor or wine. TURN-MOULDED BOTTLE production method This bottle was handmade using the ‘turn-moulded’ process, one of a variety of mould-blown processes that followed the earlier mouth-blown method. The maker would add a portion of hot soft glass to the end of his blowpipe then blow air through the pipe while placing the end inside a bottle mould. The mould was then turned and twisted, giving the bottle a round, seamless body, and usually a round indented base. The cooled body of the bottle would then be finished with the addition of an applied top. A small amount of soft glass would be applied to the top of the bottle and a lip would be formed using a tooling implement. A concentric ring would also form below the lip, caused by the rotated lipping tool. The bases of bottles made with the turn-moulded method were generally not embossed but would commonly have a mamelon or ‘dot’ in the centre of the base. SEALING THE BOTTLE After filling this type of bottle with its contents it is then sealed with a straight, cylindrical cork with the aid of a hand operated tool called a bottle corker. The bottle corker compresses the cork as it is driven into the bottle. Once inside the bottle the cork expands evenly into the opening to tightly seal the contents – the denser the cork the better the seal. This hand made, green glass bottle is representative of bottle making before mass production and is made distinctive due to its round seamless body and indented base.Bottle, dark green glass. Handmade turn-moulded bottle with seamless body and tooled lip. Deeply indented base has push-up mark with a ‘mamelon’ bump in the centre. Bottle is straight from base to half height, then tapers to a shoulder over the next quarter, than almost straight up to the mouth. There is a portion of cork in the bottle’s mouth and dry remnants in the bottle’s base. Possibly used for ginger beer. Produced in 1880s to 1910’s. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, green glass bottle, handmade glass bottle, bottle with indented base, turn-moulded bottle, rotate-moulded bottle, tooled lip on bottle mouth, applied lip bottle, bottle corker

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981The furoshiki, the ubiquitous square of cloth that is used in Japan to wrap practically anything and everything to make it portable, appears here as the wrapper for boxes of dried bonito from a shop in Tokyo. There is, of course, no limit to design and colour among furoshiki, and they also vary in size, although the ones most commonly used are about three feet square. The furoshiki seen here are emblazoned with a character that has the doubly felicitous meaning of 'congratulations' and 'long life'. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981The furoshiki, the ubiquitous square of cloth that is used in Japan to wrap practically anything and everything to make it portable, appears here as the wrapper for boxes of dried bonito from a shop in Tokyo. There is, of course, no limit to design and colour among furoshiki, and they also vary in size, although the ones most commonly used are about three feet square. The furoshiki seen here are emblazoned with a character that has the doubly felicitous meaning of 'congratulations' and 'long life'. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

A very marked and damaged brown fabric covered book with the faded title The Twins of Emu Plains printed on the front cover with twin girls sitting on a window seat reading a letter. The back cover has dried mould at the bottom and also inside at the back on some pages. The inside front and back of the spine is showing signs of breaking away from the covers. There are a few illustrated black and white plates. Foxing is seen on the edges of the pages. p.256.fictionTwin 16 year old sisters bravely assist their father on his farm while Emu Palins is in the grip of a disastrous and seemingly endless drought. Being young the twins treat trouble as a tremendous joke , and by their lightheartedness and practical help their harassed parents are able to carry on. Adventure and incident abound in this tale.adventure fiction, farm life fiction, drought - australia

Franz Gördes (b.1843) who immigrated to Australia from Germany in 1871. After docking in Melbourne Franz headed for the goldfields at Spring Gully near Beechworth, but didn't strike gold. He returned to his trade and opened a boot shop in Wodonga, which burnt to the ground the day before the opening. Undeterred, he rebuilt and operated the business until his death on 8 June 1928. He was survived by his widow, Margaret as well as six sons and three daughters. Franz Gordes’ Boot & Shoe Warehouse was situated in Sydney Road, now High Street, Wodonga.This item has a well documented provenance and connection to the local history of Wodonga.A black and white photo which has also been digitised. Above shop: Cheap / Boot & Shoe Warehousebusinesses wodonga, franz gördes, geman migrants

The reproduction print is of artwork depicting 'old' Vathi. Vathi is the main town and the largest settlement on the island of Ithaca in Greece, possibly established during the period of Venetian rule. The town resembles an amphitheatre, built around the coastline of one of the most natural ports of Greece. Many of the old buildings were destroyed in the catastrophic earthquakes of 1953. The length of the port is 926 m. with an entrance of 300 m. in width. It was once the main port for ferries transporting goods and people to and from the mainland. Ferries now dock at Piso Aetos. In the summer the harbour of Vathi is filled with sailing boats and yachts. During the periods of Venetian (c1500 - 1797) and English (1809 - 1864) rule, the population of Vathi grew significantly, reaching a total of 5,000 residents. During this period Vathi became an important centre for trade and commerce, political activities and legal proceedings.A black and white drawing of the harbour of Vathi . The drawing has a white surround. Printed in Italian across the top of the drawing: LUDRO LITTORICO Printed in Italian underneath the drawing: VISTA DE VATHI IN ITACAlittoricio, luadro

The ship was built in 1953 by Ferguson Shipbuilders of Port Glasgow, Scotland for the Port Phillip Sea Pilots organisation as a pilot cutter. Her role as a pilot cutter was to sail with pilots on board to meet ships entering Port Phillip Bay. Pilots would be transferred by the Wyuna's workboat to the vessel requiring pilotage while it was stopped dead in the water, with shelter provided by the vessel itself. In the early 1970s the pilot service started using fast launches to allow pilots to board while ships were still underway, and in 1979 the Wyuna was sold to the Australian Maritime College in Launceston, Tasmania as a training vessel. She continued in that role until 2004 when sold to Mineralogy Pty Ltd as an accommodation vessel. In September 2013 she was donated to the Western Port Oberon Association for the Victorian Maritime Centre currently at Crib Point. For a time she was docked at Beauty Point, Tasmania, and after being refurbished for 18 months she was to be moved to Docklands in Melbourne, Victoria. After this berth became unavailable the vessel was docked at Inspection Head Wharf in Beauty Point. After a period there it was towed into Bell Bay where she lays at anchor as of January 2016. When funding becomes available the Western Port Oberon Association has plans to display the vessel in a wet berth alongside the former Royal Australian Navy Oberon-class submarine HMAS Otama.Mr Henry HudsonBlack and white photograph of the Pilot Tender MV Wyuna partially obscured by a large wave at the rip, entrance to Port Phillip Bay.mv wyuna, port phillip pilot service, the rip, the heads, queenscliff, point lonsdale

After the fire was distinguished and the flood subsided, on his way flying home, the Dogtor heard voices repeatedly on his radio "Calling Flying Dogtor". A sick voice asked for the Dogtor's help in the main street of Ghostville, the old mining town across Dry Gulch Gully, now a ghost town. He got to the abandoned address, 13 ("unlucky number") Spook Street. The Dogtor is about to open the door...The Flying Dogtor" series was broadcast on Australian Television Network (later becoming the Seven Network) between February and April 1964 (see item D254 for schedule).Typewritten, carbon copy, foolscap, 2 pagesPage 1: Left hand side has been amended and is attached with tape. Written corrections on right hand side.the flying dogtor, robin boyd, crawford productions, manuscript

Black and White - tram 36 (Victoria St), at Stones Corner, picking up 6 passengers. The man is carrying a Gladstone bag. The photo is looking west and has a Top 4 dry cleaners shop sign in the background. Taken by A T Miles 27/11/1969. The photo likely to have been taken before a 48-hour strike by SEC workers that commenced on that day. See item 8774. Yields information about services to Victoria St.Photograph - black and white print with notes on rear. A T Miles stamp and location and date notes.tramways, trams, stones corner, victoria st, bridge st, passengers

Trousers - khaki, wool serge fabric, plastic buttons, five button fly, fob pocket, two side pockets, one back pocket with button down flap. Lining cotton and polyester fabric. One manufacturers label on lining of back pocket with black print information. Mending patch attached to label.Cotton label information - black ink print. "CONWAY BROS PTY LTD/ ^/ CLASS 8405-66-025-6187/ size & waist 305/ Dry clean only/ Re=press on original seams/ Creases set by Si-ro-set/Mending Patch attached."uniform, army, battle dress trousers

Part of WW2 medical kit (see 359.1)BROWN COLOURED SQUARE SIDED GLASS BOTTLE WITH BLACK SCREW TOP AND PAPER LABEL. Contains liquid.Label Front: Sarax Kuraburn. For the treatment of BURNS,SCALDS AND sUNBURN Label Side: Allow to dry on the skin before putting on wearing apparel to avoid staining the clothes. Label Side: DIRECTIONS: Dab on lightly and repeat in two hours if necessary. Applied early, it prevnts blistering.

The item is a representative example of previously standard issue uniform and is in excellent condition. As a set alongside 0040.2, the uniform has aesthetic significance in its design, incorporating the Disruptive Pattern style of camouflage which has its roots in the 1980s and continues to be adapted into uniform design by the Defence Force.Field shirt in disruptive pattern colours of green, khaki and browns. Long sleeve with five buttons up the front, two chest pockets with button-down flap pockets. Both sleeves are reinforced from the elbow down to the cuff; cuffs are fastened with a single plastic button. Above the right chest pocket is a patch with embroidered inscription in black thread on disruptive pattern backing. Shirt also features plain epaulette's on both shoulders, fastened by plastic button. Manufacturer's label on interior reads "ADI P/L/VICTORIA/1989/[broad arrow]/8415.66.130.0033/SIZE. 100R/NAME/SERVICE NO./MACHINE WASHABLE/DRIP DRY ONLY/DO NOT IRON/DO NOT STARCH/DO NOT BLEACH" Patch above chest pocket reads "PARKER"camouflage, uniform, australian defence force, disruptive pattern

Raincoat - garment part of Women's Service Dress Uniform. Possibly issued to "BALAAM" Service No. F320519. Refer also Cat No. 6916.Raincoat - dark green colour plastic waterproof fabric. Below length coat with collar, long sleeves, two front patch pockets with flaps, front opening with concealed button placket. Five dark green colour plastic buttons. Two manufacturer's labels sewn to fabric - white cotton fabric. First label - front placket lining. Second label - inside behind left pocket.Manufacturers information - black ink print. First label - "INSTRUCTION LABEL" with details on laundering and drying garment. At bottom "NAME/ SERVICE NO". Second label - "KINDRED MANUFACTURING/ PTY LTD/ QLD 1983/ D.S.N. 8410-66-030-2060/ SIZE 10/ SERVICE NO./ NAME."uniform, raincoat, army, balaam, passchendaele barracks trust

Bushfire behaviour is influenced by many factors including temperature, relative humidity (RH), forest type, fuel quantity and fuel dryness, topography and even slope. Wind has a dominant effect on the Rate of Spread (ROS), as well as fire size, shape and direction. Temperature and relative humidity have major impacts on fuel dryness and therefore upon the availability of fuel for combustion. A thermo-hygrograph measures and records both temperature and humidity. It produces a continuous record by drawing ink traces on a paper chart held in revolving cylinder. Humidity is measured by shortening or lengthening of a bundle of specially treated human hair. Temperature is measured by means of a laminated bi-metal strip of temperature-sensitive metals which bend differentially with temperature change. The recording drum is driven by clockwork which may be geared for rotation intervals of daily, weekly or monthly periods. This particular instrument is a seven-day recorder. Serial number 10186 which probably dates from about 1960. The chart indicates it was last used in March 1979.Used for bushfire research.Clockwork Thermo-hygrographCasella London 10186 Made in England Research Branch. Forests Commission Orbostbushfire, forests commission victoria (fcv), forest measurement

Tobacco farming began circa 1960 in the Kiewa Valley and consequently became one of its major industries. Many of the Italian families were involved in tobacco farming.Historical: This equipment was used on one of the first tobacco farms in the Kiewa Valley at Mongans Bridge. The frame holding the thermometers was home-made showing the resourcefulness of farmers living in the Kiewa Valley. Provenance: This tobacco farmer came from Italy and was sponsored to visit a tobacco farmer in Myrtleford to learn how to grow tobacco so that he could transfer those skills to his own farm in the Kiewa Valley.Used for monitoring the temperature and humidity in the kiln during the drying process of the tobacco leaf (the thermometer is missing the water holder) 2 thermometers attached to a steel attached to an old rusty tin frame with handle at the top enabling it to be hung, using wire, to hook on the wall. Tin frame has cap on it coming out to protect the thermometers and a base for standing the frame up. 1 thermometer has a hollow piece of material (or cord) strip (125 mm long) attached to the bottom of it.Beside the thermometers is inscribed on steel - the lines for measuring and numbers from 40, 60 (by 20s) up to 240.tobacco. kiewa valley. mongans bridge. wet and dry bulb thermometer. silvano rossaro.

Polyester long sleeved khaki dress shirt. Left and right breast pockets with buttons. Buttons on the cuff of each sleeve. Six buttons down the front plus one spare. Epaulets on each shoulder with buttons securing.Plain back. Label inside at the back of the neck states - ADI 1991 Size 43/86. 8405.66.088.7110. Service No. Name. 65% Polyester 35% Cotton. Do not boil or wring. Machine washable, drip dry, iron lightly with warm iron. Manufacturer - ADI 1991dress shirt, polyesters

This handmade glass bottle was recovered from the wreck of the 1895-1902 ship Inverlochy and is part of the John Chance Collection. The bottle has side seams that extend from base to mouth, indicating that it would have been made in a mould. The parallel, diagonal lines are likely to have been made by the molten glass being mouth-blown into the mould. The mould would have also had the pattern for the embossed numbers in the base. The seamless applied mouth would have been added after the bottle was removed from the two-piece mould. The even neck of the bottle would have probably been sealed with a cork or glass stopper. Bottles similar to this one were used for medical (apothecary) and cosmetic purposes. Bottles with these features date from around the late 19th to early 20th century. Bottles began to have embossed numbers on the bases from the late 19th century and the practice continues into modern times. The numbers may represent the date of manufacture i.e. “4188” may be 4th January 1888. It may instead be the date of the patent or design pattern number. This bottle may have been made around 1888 and the latest it could have been made was 1902, the year of the wreck of the Inverlochy. THE INVERLOCHY (1895-1902) - The Inverlochy was a steel sailing barque built in Scotland in 1895 for international trade. In 1902 the Inverlochy left Liverpool under the command of Captain E.R. Kendrick. There were 21 officers and crew and the captain’s wife Mrs Kendrick, on board, bound for Australia with cargo that included tools, chemicals, liquor (beer, whisky, stout, rum, and brandy), steel, iron, wire netting, hoop iron, tinplate and pig iron), and steel wire for the Melbourne Tramway Company, tiles, soap, soft goods and earthenware. On December 18 almost at their destination, the Inverlochy ran aground on Ingoldsby Reef at Point Addis, near Anglesea. The crew and passengers left the ship via lifeboat and landed at Thompson’s Creek, then walked about 20 kilometres to Barwon Heads. Salvagers were interested in the 10 miles of cable in the hold. Mrs Kendrick’s ‘high grade’ bicycle was amongst the items salvaged but she lost her jewellery and two pianos. By February 1903 the ship had broken up and objects such as bottles and casks of liquor were washed ashore. Bad weather shook the wreck in June 1903, causing the ship’s spars and figurehead to be washed ashore. This glass bottle is historically significant as it represents methods of storage and manufacture that were used from the 19th century and into the early-20th century, before machine made bottles were becoming common. The shape and size of the bottle are similar to bottles used for medical and cosmetic purposes in that period. The glass bottle also has significant as it was recovered by John Chance, a diver from the wreck of the Inverlochy in the late 1960s to early 1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. This glass bottle is significant because of its historical connection to the barque Inverlochy, which is an example of a commercial international steel sailing barque and is listed on the Victorian Heritage Database VHR S338. The Inverlochy is significant for its cargo, which is a snapshot of the kind of goods imported into Australia at the turn of the 19th century, including cable for the Melbourne Tramway Company. The wreck of the Inverlochy is important as an accessible dive site that shows the remains of a large international trading vessel and its contents. It is valuable for an insight into Victorian era of shipping and maritime history. Bottle; clear glass, round, handmade. Narrow lip is flat across top and on side edge, neck is straight, about a third of the bottle’s height. The shoulder is rounded, and the body has straight sides with two side seams from below the lip to the base, which is shallow. Outer glass surface is rough, inner surface has areas of dried, light coloured substance. The body has several diagonal parallel lines and areas with opalescent shine. Base has embossed inscription. Embossed inscription on base "4188".flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, inverlochy, scotland, captain e.r. kendrick, melbourne tramway company, ingoldsby reef, handmade, glass bottle, apothecary, cosmetic, mould blown, vintage, two-piece bould, point addis, medicine

Colour photograph of a fundraising wine bottle label promoting the centenary of the Menzies Creek State School. Label is off-white with red printing. 'GORDO RIESLING/An unusual blend/ of Gordo and Riesling grapes specially/ prepared, giving a Moselle style taste/with a pleasant Dry Riesling finish, and ready/to be enjoyed now./The grapes were grown and vintaged at/ Angove's Renmark vineyards.' The label features the (then) school logo, designed to mark the school's centenary, with artwork by Tanya Mayer and Konrad Matta.

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Hand-cut sections of cryptomeria wood make a simple but dignified box for dried noodles. The shop in Akita City that sells this product was founded in 1665. The label, with its numerous seal impressions, has the look of an old-time legal document, and this is fitting, for it is actually the shop's pedigree. It records, among other things, the name of the founder and the fact that the shop, originally located in Inaba, once sold its noodles to the feudal lord of the region by special appointment. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

Yields information about Ballarat Trams and streetscapes in the early 1960's and the details of the Lydiard St railway gates from the north end.Black and white print of Ballarat 18, in Victoria Street, photographed by Wal Jack, 28/2/1962. Two copies. Tram has advertisements for "The Age", Whites Florists, Lancashire's. Tram has the destination of Gardens via Sturt St. Note the pan at the end of the overhead and "X" in front of the tram. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1"SEC Ballarat / 18 / Victoria / 28/2/62 2090 / Wal Jack" Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, victoria st, terminus, tram 18

Yields information about Ballarat Trams and streetscapes early 1960's and the details of the Victoria St terminus while running specials for the AETA.Black and white print of Ballarat 18 and 37, at the Lydiard St gates, while B79 crosses the street. Photographed by Wal Jack, 21/4/1962. Two copies. Tram has advertisements for "The Age". Tram is showing Special and has a number of people photographing the scene - AETA tour. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1" "73)" and "SEC Ballarat / 18 & 37 / Lydiard St North / 21/4/62 2091 / Wal Jack" trams, tramways, lydiard st, railway crossing, aeta, tram 18, tram 37

Yields information about Ballarat Trams and streetscapes, the scrubber tram and the Bell Street loop, early 1960's.Black and white print of Ballarat of No. 38 in Sturt St, just to the west of Lydiard St with No. 19 in the background. Tram has the destination of Gardens via Drummond North, No. 19, Sebastopol. IN the background is the Waldorf shop premises, tram stop signs. Photo by Doug Colquhoun 27/4/1954. Two copies. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1"SEC Ballarat / 38 / Sturt St / 27/4/54 2118 / D A Colquhoun " Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, sturt st, city, tram 38, tram 19

Yields information about Ballarat tram 40 and the Sebastopol terminus.Black and white print of Ballarat 40 at the Sebastopol terminus. Two copies. Photo by Doug Colquhoun, 17/5/1971. Trams has the destination of Lydiard St Nth and roof advertisements for Eureka Tiles and Bliss Bombs (To read pack: Tilt Tram"). Also has the houses in the background and shows the overhead arrangements. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Ballarat / 40 / Sebastopol terminus / 17/5/71 4179 / D.A. Colquhoun" . Copy 2 "Douglas Colquhoun / 5.1971 National Rly Museum" in ink, bottom right hand corner and in the top left hand corner in ink "Car 40 SEC Tramways Ballarat Vic 3350"trams, tramways, sebastopol, tram 37

Yields information about Ballarat's trams during the late 1950's and the Gardens area.Black and white print of Ballarat 34, inbound in Lydiard St Nth, just before the railway level crossing. Two copies. Photo by Doug Colquhoun, 23/3/1959. Tram has the destination of Sebastopol, and has the Kennedy Murray Pty Ltd General Carriers building in the background. Photo print courtesy of Port Dock Railway Museum, now the National Railway Museum. See worksheet 4311 for letter and details of prints sent to Bill Scott, 19/10/2001. Any photo credit to mention NRM Collection.On rear of copy 1 "SEC Ballarat / 34/ /Lydiard St North / 23/3/59 5535 / D.A. Colquhoun" . Copy 2 "DAC" in ink, bottom right hand corner.trams, tramways, lydiard st nth, tram 34

The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment.Colour photograph of a group of 8/13 Victorian Mounted Rifles 0fficers at Dining In function 22 April 1989. Standing from left : Lt. J. Burke, Capt. C. Carrington, Lt. Marshall, Maj. R. Morrison, Lt. Mathews, Capt S Whitehead, Lt. J. Clay, Maj. I. Docking, Maj. G. Cole, Lt. Col J. Allard, Maj. R. McDermott, Col J. Neale, Seated: Capt. P.Hartung, Maj. M. Oates, Capt. P. Martin, Capt. J. McLean, Capt. L. Jackel.

Australia's worst natural disaster, fed by extreme temperatures, tornado-like wind speeds and tinder-dry land, culminated in the disaster we now know as Black Saturday, February 7, 2009. Before the sun would set on the blackest day in Australia's history, thousands of hectares would become blackened landscape and an unparalleled loss of lives could only mean that many areas would never be the same again.fay bridge collection, black saturday, kinglake, victorian bushfires - 2009

The geometric pattern mimic Ukrainian embroidery design,using straw marquetry technique (which is similar to that of wood marquetry). The wheat straw was soaked in different pigments to achieve the required shades,dried,split and ironed flat. Then cut into various sizes and shapes to create this pattern. The pieces where then glued onto a backing board.The backing board was then glued on the back of the photo album. This album was received as a birthday gift in early1960's.This form of straw art is very rarely seen today.Book is black.Back page is coloured straw design. photographsphoto, book, straw, ukrainian design, 1960, family dutka

Navy blue cloth cover with embossed golden lettering on the spine, and mustard dust jacket illustrated by original painting by Commander DGM Gardner. xvi, 176 p. : 16 plates, illus., maps, ports. ; 22 cm. Includes index.non-fictionFrom dust jacket: This is the unique story of the sailing ships owned by Sir William Garthwaite between 1915 and 1929, which formed in fact the last sailing merchant fleet to trade under the British flag. Captain A.G. Course, a Cape Horner himself, tells the story of this fleet whose vessels sailed so often past the awesome tip of South America, with a wealth of detail, happily marrying factual information and anecdote to produce a valuable historical record. Here are some of the last great characters of the age of sail, both men and ships, brought to life. The author's own close contact with the vessels and their crews allows him to capture the atmosphere most realistically. The Garthwaite ships, for all the effort put into their operation, were fighting a last-ditch stand against the inevitable supremacy of steam. It is with a certain nostalgia that the author records the passing of a fine fleet and documents an important chapter in maritime history. windjammers, captains, martin frampton, catherine aviss (nee frampton), herbert aviss, elisabeth frampton, inverneill, garthneil, wray castle, garthwray, alfred george course, invercauld, invermay, carnmoney, garthforce, garthsnaid, garthgarry, garthpool, juteopolis, captain roberts, crew, cape horn, cape leeuwin, captain thomas atkinson, spanish flu, wwi