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Clunes Museum
Magazine - BOOK / MAGAZINE, FPC. LIVING - A DIVISION OF EASTERN SUBURBS NEWSPAPERS, Aug-01
COLOURFUL MAGAZINE - AUSTRALIAN COUNTRY STYLE, CONTAINING ARTICLE -PAGE 90- BUILT ON GOLD. PHOTOGRAPH OF CLUNES TOWNSHIP, CEILING IN CLUNES TOWN HALL, MRS. PAT COOK IN FRONT OF CLUNES TOWN HALL.local history, books, magazine -
Whitehorse Historical Society Inc.
Article, Design Touched, 2000
Design touched by a penchant for curves; article from the Age Domain section, with photo, on contemporary style house at 2 Felgate Parade, Vermont South, for auction 26th August, 2000. By Jeanne-Marie Cilento.felgate parade, vermont south, no.2 -
Circa Vintage Archive
Knitted ladies swimsuit 1930, Knit wool black patterned ladies swimsuit by Seagull 1930s, 1930
Manufactured by Botany Knitting Mills Pty LtdOne piece ladies swimsuit with boy style leg and plunging backline. Thin shoulder straps. Built in black woollen knickers. The advert pictured is from the Adelaide Register News, 28 Nov 1930Seagull Flex-o-knit -
Rutherglen Historical Society
Image, Olive Codling
Some of the buildings of the Mount Ophir winery. Photo was taken by Miss Olive Codling, who was a life member of the Wodonga Historical Society. Photograph is believed to have been taken on the occasion of a Tour by the North East Branch, 1st combined meeting.Black and white photograph of two adjacent brick buildings of different styles, with a group of people standing in front of it, listening to a speaker. The building on the right has "1891" written below the centre, upper floor window.mt ophir, mount ophir, wine industry -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Bulmer H D, 1950c
Black and white photograph of Victoria House, showing two buildings, one ornate with gable roof, the other simple style with hipped roof, incorporated to make large guest house. Lakes Entrance VictoriaVictoria House Lakes Entranceguesthouses, architecture -
Tennis Australia
Ball container, Ball, Circa 1975
A sealed can of three Wilson 'Optic Yellow Match Point' tennis balls. Clear plastic reclosure cap over a ring-pull style lid. Materials: Metal, Ink, Rubber, Synthetic materialtennis -
Surrey Hills Historical Society Collection
Photograph, 10 Pembroke Street, Surrey Hills, 1904
‘Eignbrook’, 10 Pembroke Street was built in 1904. It was the home of William Valentine Hill, journalist, who came to this home with his wife Annie (nee Boak) and family of eight children in 1904. Courtesy: Mr William (Bill) Dempsey, grandson of William Valentine Hill.Original sepia photograph of 10 Pembroke Street. A weatherboard house in the Queen Anne style with a steep pitched iron roof. Decorative fretwork adorns the verandah. Mounted on white cardboard and taped on 1 corner.Back of photo is inscribed “Hills House, 10 Pembroke St, Surrey Hills”. Card has written underneath the photo, “10 Pembroke St”pembroke street, surrey hills, hills family, 'eignbrook', house names, (mr) william valentine hill, (mrs) annie hill, (miss) annie boak, (mr) william (bill) demspey, journalist, queen anne style -
Surrey Hills Historical Society Collection
Photograph, 'Glen Affric', 12 Durham Road, Surrey Hills, 1980s
Negative No 2120. Miss Jessie McCleverty operated a girls' high school at 12 Durham Road from 1903-1905/6. After this time she moved the school to 44 Windsor Crescent where it operated until 1933. Oral testimony from Mrs R McCoy: (NB/ It is unclear whether this refers to 12 Durham Road or 44 Windsor Crescent, but it is more likely to be the later as Mrs McCoy donated a photo taken in 1982 of 44 Windsor Crescent.) "She added school rooms and a veranda to the back. She was keen on Esperanto, the international language and wanted her pupils to know it. There was an archway over the gate, part of the design being a star, part of the Esperanto sign - and some suitable wording. Each morning the pupils greeting had to be "Good Morning Fraternity", in Esperanto."Colour photo taken from a side angle of the front section of a Victorian-style house painted white and with ornate lacework along the veranda. It has a mature garden either side of a tessalated tile path.miss mccleverty's girls' school, victorian style, glen affric, durham road, miss jessie mccleverty -
Melbourne Tram Museum
Uniform - Cap, Yarra Trams, c2010
White baseball style cap, with a "Love your trams" symbol on the front and "Yarra Trams" logo on the rear. Velcro strap on rear. Sew with white cotton, button on top, stiff card peak to the cap.trams, tramways, cap, yarra trams -
Federation University Art Collection
Painting (tryptich), Ricordi Souvenir Series, c2013
This work was exhibited in the 2013 Flanagan Art Exhibition "For her project, Ricordi – Souvenirs, the artist delves into history, culture and identity. She tests her ideas by inviting friends and fellow artists to share their own ‘souvenirs’ for scrutiny. The artist filmed and interviewed each participant enquiring as to the meaning and context of their precious objects, their memories of the past. Interviewees trusted the artist with their stories after which she re-configured their anecdotes using the mediums of print and sculpture. Her investigation begins with the question, ‘do souvenirs tell us something about the purchaser, mark a particular time and place and/or refer to popular culture?’ Ultimately Covino-Beehre facilitates all participants, including herself, to connect to each other through common experience and the need to belong." (http://www.acovinobeehre.com/styled-3/styled-12/styled/index.html)artwork, artist, printmaking, covino-beehre -
Flagstaff Hill Maritime Museum and Village
Functional object - Music stand, Early 19th Century before 1860
Thomas Sheraton (1751-1806) appears to have been the first to record the written term “Canterbury” music or magazine stand. In his Cabinet Dictionary of 1803 he refers to “a small music stand” with divisions for holding loose sheet or bound volumes of music. The music stand designed to hold sheet music came into fashion in the late 18th Century in England and was often crafted from mahogany, rosewood or walnut. They were seen as status symbols since music was practiced exclusively by the upper classes of society. In a period when printed music was more widely available and disseminated due to more affordable printing techniques, modern sheet music was very popular and therefore storage for such favoured tunes became a luxury and an opportunity for innovative design by cabinet makers. The Classical period of music, from about 1750 to 1820 and the Romantic Period from around 1815-1910 was the golden age of classical music. And it was at this time that The Canterbury often accompanied the piano in the parlour with styles ranging from Georgian simplicity to Victorian exuberance. Social activities of colonial Victoria would have included evening gatherings of family and friends around the piano to enjoy performances or sing along together with from old and up-to-date music sheets. The Canterbury would also be an elegant and practical place to also store newspapers, magazines, posters and drawings from overseas. The news from ‘home’ would be enjoyed by all. THE INSCRIPTION “Jack Morse” Morse. In 2010 Mr Jack Morse was recognised as one of the “people who have contributed to the long term development of Flagstaff Hill Maritime Village”. He was a member of the Flagstaff hill Planning board and a Current Life Member and had been awarded a Certificate of Service and the provision of an Annual Family Membership for life by Flagstaff Hill. The Morse’s family business, Morse’s Engineering, closed in 2010. It was considered “One of Warrnambool’s longest operating businesses with roots dating to 1883 with the design and manufacture of coaches and buggies, progressing to automotive repairs and later specialising in under-vehicle work” The Canterbury appears to have been handmade prior to 1860 as the dovetails are handmade and there are no saw marks on the drawer sides or back as well the sides. Also the back has small nicks indicating a hand plane or drawer knife was used rather than a saw blade to size the material. Additional indications are that the spindles are slightly different in size meaning they were handmade individually not mass produced. From these indicators the writer believes that the item was made before 1860 as machinery was only used after this date to produce furniture. As yet no individual maker can be attributed to this item, however it is a significant piece historically and is quite valuable if a known maker can be associated with the Canterbury. The item highlights a time in our social history when music played an everyday part in people’s lives as the only entertainment families could enjoy together in their own homes. A Canterbury music stand, having three compartments consisting of twenty turned spindles supporting the slat dividers. A drawer, with two turned wooden handles, is fitted below. The music stand has turnip style turned feet. The drawer front and carcass of the stand are veneered rosewood over a mahogany carcass. The underlined words "Jack Morse" are handwritten underneath the drawer bottom.Hand written inscription on underneath the drawer bottom "Jack Morse".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, canterbury, music rack, magazine rack, music stand, magazine stand, 19th century furniture, occasional furniture, frederick cornwallis, jack morse, morse’s undercar, music, thomas sheraton, regency furniture, music canterbury -
Kiewa Valley Historical Society
Baby's Bonnet
This bonnet could have been part of a Christening outfit which matches the same style of "KVHS 0235" The quality of the garment and the fashion style it represents is both historical, and is of the fashion in that era. It has Christian religious implications and values of the time frame of regional life in the early 1900s. It is hand made possibly by the mother of the child being christened. The bonnet was probably worn at a christening in one of the Kiewa Valley churches (denomination unknown). The importance of the event to family and friends is shown by the quality of the garment. These style Christening items were often worn buy several children of the one family , both boys and girls. Other items that match this outfit are KVHS 0235. White crocheted baby's bonnet threaded with white ribbon. (Possibly for christening.) infant. baby. bonnet. crochet. christening. -
Glen Eira Historical Society
Article - Prentice Street, 32, Elsternwick
Three items about sales of this property: 1/Property Review Weekly article dated 14/07/2006 on newly built, neo classical Edwardian style weatherboard home called Khya. Home includes period style elements to maintain Edward Style of home. Includes four coloured photographs. 2/Advertising dated 19/07/2006 giving brief details of house features. Includes one coloured photograph of exterior. 3/Advertisement hand-dated as 08/08/2012 with one colour exterior photo. Described as modern period home.prentice street, elsternwick, edwardian style, khya, plaster moulds, harleston park, peer gary, bricker glenn, krongold darren, orrong road, caulfield north, estate agents, timber houses, house names, biggin scott -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1910
This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. However, this bottle is rare, in that the base has been embossed then over-embossed with the same text, letters overlapping. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is a rare find, in that the base has been over-embossed with the same lettering, letters overlapping one another. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles 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 of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, over embossed, brown glass, handmade, rare. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Mouth has sealing tape remnants around top. Mould seam around shoulder. Body tapers inwards to push-up base. Top edge of lip has application faults. There is also a rectangular indent in the upper edge of lip. Base is embossed and over embossed, with the letters overlapping each other. Embossed on base "6 TO THE GALLON", then over-embossed with the same "6 TO THE GALLON"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, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable, over embossed, rare -
Flagstaff Hill Maritime Museum and Village
Painting - Vessel, C.K.M. (artist), S.S. Warrnambool, 1883
This oil painting is in a handmade, carved frame, dates back to the period of the old Warrnambool Museum and Art Gallery. The two-masted, sail-and-steam-powered ship has the sails and bow shape of a tall clipper ship plus the extra power of steam. It dates to the transition between the clipper ships with their billowing sails and the steam-powered ships, which happened in the late 19th to early 20th century. The flag flown from the stern is that of the British Merchant Navy that traded around the world to transport cargo, and later passengers, from one destination to another. The painting was originally catalogued as the "S.S. Warrnambool" although it has a different design. It was also attributed to the ship portrait painter, the renowned C.K.M. - Charles Keith Miller - but differs from his style. Further research is being carried out at this time. In 1966, between the closure of the old Warrnambool Museum and Art Gallery and the distribution of the painting to Flagstaff Hill, this painting was repaired by David Heysen, son of the German-born artist Hans Heysen OBE. David was born in Hahndorf (called Ambleside for a short period of time), South Australia, married Lyly Refshauge from Melbourne, and they raised a family on their property in Kalangadoo, near Penola, in South Australia.The painting's frame is an example of handmade carving and joinery created in the late 19th century. The artist has depicted the image of a historical sail-and-steam ship of the type in which cargo was traded across the world, including to and from Australia. Vessels such as this also brought migrants to Australia.Painting, oil on board, in hand carved wooden frame with floral and geometric pattern, inner border painted gold. Image of a two-masted sail and steam ship, sails raised, black funnel emitting smoke. Hull is black with white horizontal stripe and white trim around sides of deck. Three lifeboats are visible. Bow is ‘clipper shape’ with what appears to be a figurehead. A red ensign flag flies at the stern and a blue and red flag is attached to the mainmast. The frame has been assembled using Mortice and Tenon joints, one of which is exposed on the back, lower right corner. Chandelier chain has been attached for hanging. There is no visible signature, date or title on the front of the painting. The back board has empty holes spaced around the edge and is held in place by staples. The visible surface has remnants of adhesive from two rectangular attachment s. There are two small white stickers attached, one with a hand written inscription. There are pencil and pen inscriptions. The painting is protected by cardboard with inscriptions in marking pen.On back board, written in the style used by the Warrnambool Museum and Art Gallery: - On white sticker, in pen “A-P31/1-74” - Pencil “A27/1883 / Artist CKM 1883 / Title SS Warrnambool / oil on board” Written in pen by the repairer - “Repaired & re-drilled – cleaned etc. / David Heysen 11/66” Written by Flagstaff Hill’s Cataloguer - Pencil “3031” On cardboard wrapper, in marking pen: - “S.S. Warrnambool / by / C.K.M. 1883” - “A-P/31/1-74” - “3031”flagstaff hill, warrnambool, shipwrecked coast, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, s s warrnambool, charles keith miller, charles miller, steam and sail ship, british merchant navy, slipper shaped bow, 19th century sea trade, warrnambool museum and art gallery, old warrnambool art gallery, hand carved picture frame, mortice and tennon picture frame, migrants, c.k.m. -
Greensborough Historical Society
Article - Article, Journal, Ann Dixon, Crinolines and bustles: collecting historical women's dresses 1820-1940, by Ann Dixon, 2016_06
Guide to collecting women's apparel, including descriptions of changing styles and fashions during the period 1820-18407 p. text and colour photographsFrom the magazine "The Genealogist" published by AIGSwomens costume, women's clothing, fashion, ann dixon -
Greensborough Historical Society
Book, What house is that? A guide to Victoria's housing styles, 2007_
A guide to period building styles in Victoria. Contains heritage colour suggestions and description of main architectural elements.These house styles are common throughout Victoria and may also be found in the Greensborough area.31 pages, soft yellow cover with title in grey and white. Colour illustrations and black and white line drawings.houses victoria, heritage council of victoria, heritage victoria, david harvey -
Flagstaff Hill Maritime Museum and Village
Bonnet, late 1800s - early 1900s
This style of bonnet was commonly worn outdoors by women in South West Victoria in the late 1800s - early 1900sThe bonnet is significant as a typical of women's outdoor headwear in Australia in the late 19th and early 20th century.Ladies outdoor bonnet, white cotton with narrow mauve stripes and small flowers. Bonnet is trimmed with frills and straps to tie under the chin. Dated late 19th to early 20th century.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ladies bonnet, outdoor bonnet, hat, bonnet, headwear, ladies clothing, late 19th century bonnet, early 20th century bonnet, women's fashion, australian fashion, australian millinery -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Gloves lady's cotton lace, c1930
This pair of hand crocheted white cotton gloves is an example of the style worn by women in the Shire of Moorabbin c1930 Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin and these fine lace gloves were hand knitted and used by her family. 1 pair of lady's white cotton hand crafted fine lace gloves . -
St Kilda Historical Society
Photograph, Donald McDonald, Residence of G.WG. Murray, c. 1872
single storey, gothic revival style, residence of G.WG Murray merchant and St Kilda Mayor with familyblack and white photograph, unmounted, copy, good condition, North side of Carlisle St. Photo 1872 G.WG. Murray, Merchant and St Kilda Mayor in Residence -
Puffing Billy Railway
Carriage Sign - Early Puffing Billy Volunteer Advertising, 1970s
Carriage Sign - Early Puffing Billy Volunteer Advertising These signs were fitted to NBH style carriages. Historic - Puffing Billy Railway Carriage Sign - Early Puffing Billy Volunteer AdvertisingCarriage Sign - Early Puffing Billy Preservation Society Volunteer Advertising Grey timber sign with black painted text.Looking for a Hobby if you like - steam trains - meeting people - handy man jobs - working outdoors Become a Puffing Billy Volunteer Enquire at Puffing Billy's Belgrave Station on your return puffing billy, nbh, advertising -
Williamstown High School
Breakfast Party 1947
Then photograph gives us an insight into school activities of the 1940's and illustrates hair styles and clothing of the day.jpg file of original black and white photograph.williamstown high school, williamstown botanical gardens, breakfast party, 1947 -
Moorabbin Air Museum
Book (Item) - Book Of Flying
Beaufighter On The Beach Airmanship - 1918 Style The Saga Of The Kookaburra To Identify A Wartime Wreck The Tale Of Two Lightnings -
Federation University Art Collection
Painting - Acrylic on Linen, 'Tingari Cycle' by Walala Tjapaltjarri
Walala Tjapaltjarri (b. c1960) Language: Pintupi Region: Kiwirrkuru In late 1984 Walala Tjapaltjarri and several other members of the Pintupi Tribe walked out of the remote wilderness of the Gibson Desert in Western Australia and made contact for the first time with European society. Described as 'The Lost Tribe', he and his family created international headlines. Until that day in 1984, Walala and his family lived the traditional and nomadic life of a hunter-gatherer society. Their intimate knowledge of the land, its flora and fauna and waterholes allowed them to survive, as their ancestors had for thousands of years. It is this sacred landscape, and its significant sites, that Walala so strikingly describes in his paintings. His style is generally highlighted by a series of rectangles set against a monochrome background. He paints the Tingari Cycle (a series of sacred and secret mythological song cycles) which are associated with the artist's many dreaming sites - they are Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These Dreamings are the locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) Walala Tjapaltjarri started painting in 1997. His earliest works were in a classical Tingari style usually reserved for body painting, ground painting and the decoration of traditional artifacts. Within a couple of months his painting had evolved into his own innovative style of work, including the abstraction of classical Pintupi designs which resulted in a highly graphic language to speak of his country and ceremonial sites. The rectangles so prominent in his paintings form both a physical and spiritual map establishing Walala as a discerning draughtsman for his ancient country. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Tingari Cycle - During the Tjukurrpa (Creation Era) Tingari ancestors beings gathered at a series of sites for Malliera (Initiation) Ceremonies. They travelled vast stretches of the country, performing rituals at specific sites that in turn created the diverse natural features of the environment. The Tingari men were accompanied by novices and usually followed by Tingari Women. The creation stories and rituals are venerated in the song cycles and ceremonies of today, forming part of the teachings of the post initiatory youths, whilst also providing explanations for contemporary customs. Walala Tjapaltjarri uses a highly personalised and minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestors of the TJukurrpa (Creation Era). He paints aspects of the Tingari Cycle which are associated with the artist's many sacred sites - such as Wilkinkarra, Maruwa, Tarrku, Njami and Yarrawangu, to name a few. These are locations of significant rockholes, sandhills, sacred mountains and water soakages in the Gibson Desert. (http://www.kateowengallery.com/artists/Wal90/Walala-Tjapaltjarri.htm, accessed 18 May 2015)art, artwork, walala tjapaltjarri, aboriginal, dreaming, creation era, acrylic on linen, pintupi, kiwirrkuru, tingari, wilkinkarra, tarrku, njami, yarrawangu -
Ringwood and District Historical Society
Undergarment - Ladies, Cotton lawn camisole and bloomers attached as one undergarment. C1920's-1930's, c. 1920s - 1930s
UnknownCotton lawn camisole and bloomers attached as one undergarment, sleeveless with square neck with a wide edging of machined lace with eyelets for ribbon. Honeton style lace also around legs. Buttons missing down front. -
Bendigo Military Museum
Plaque - PLAQUE, RATS OF TOBRUK, G Belan
Item in the collection relating to Doug Dean, refer cat No 4575P for his service details.Plaque with clock face, copper in smooth and dimple style, top has crown over “T” for Tobruk with scrolls over, kangaroo centre, place name under, clock has hour and minute hands in black.On top half, “RATS OF TOBRUK ASSOCIATION BENDIGO VIC”tobruk, bendigo, association -
Bendigo Military Museum
Photograph - PHOTOGRAPH B & W, Possibly pre WW1
B/W photograph, in the style of a post card. Shows a standing soldier wearing a peaked cap. Has crowns on his badges. Charles Eric Phillips = White Hills Bendigo. Prints of postcard by Kodak Australia.Rear is marked 'Eric in uniform age 18 years'. photography-photographs, uniforms -
Briagolong RSL Sub Branch
Plaque (Framed), HMAS Voyager Crest, Crest 1958, Framed 2004
Framed Plaster of Paris Crest, Keyhole style, HMAS Voyager, blue bachground showing single sail Viking Ship.Crest is topped by Gallion and two sails. Title Inscription and brief details of Voyager Melbourne Collision.HMAS Voyager, Qua Fata Vocant (Where Fate Calls) At 2056 hours, 10th February 1964, during Naval Excises off the NSW coast, HMAS Voyager crossed the bows of the Aircraft Carriew HMAS Melbourne and was sliced in two. 82 sailors perished in the dister. lLest we Forget. plaque, h m a s voyager -
Glenelg Shire Council Cultural Collection
Plan - S.S Admella Model Plans, n.d
Photocopy of sale/rigging plan of S.S Admella scale 1:48. Photocopy on parchment style paper. Plan used by 'float-a-boat' model markers for the construction of the Admella model acquired by Grant District council.admella, portland lifeboat, 150th anniversary -
Glenelg Shire Council Cultural Collection
Functional object - Whale Oil Lamp, n.d
"Betty" style whale oil lamp, consisting of shallow reservoir with a spout at one end in which a wick was inserted."Betty" from German word 'besser', meaning better due to improved performance of oil lamps.whale oil, lamp, betty lamp