For use in Korean War. A note inside advises wearer that they must be worn over "drawers, pyjama type".This is one pair of knitted woollen trousers. Three button fly. The inside has a fluffy finish, the outside is smooth weave. Small cotton 'wedge' in the rear crotch area.korean war, cold weather uniform, passchendaele barracks trust

Also two black and white postcards looking across footbridge to township 04271.1, 04271.2 size 9.5 x 14 cm 1940 cBlack and white postcard of Cunninghame Arm footbridge taken from the top of the sand dunes looking towards the few houses of Lakes Entrance Victoria Stamp on back The Lakes Studio Lakes Entrance. Also two black and white postcards looking across footbridge to township 04271.1, 04271.2 size 9.5 x 14 cm 1940 cbridges, recreational facilities, surf lifesaving, waterfront

Buff card certificate with blue and gold text and a blue border presented to Charles Mapperson in recognition of 50 years of service as a Local Preacher for the Heathcote Circuit. It is signed by the President of the Conference and the Secretary of the Conference, 4th December 1938."Charles Mapperson" Handwritten in pencil: "Rev N Mapperson's father"methodist church of australasia heathcote circuit, charles mapperson, rev norman h mapperson

Bunde Hansen Steenholdt, a miner, lived at Linton from about 1865. He and his wife Johanne Louise Steenholdt had twelve children. Part of Old Lintonian collection ; No. 48.Portrait of and elderly man with whiskers, wearing suit and tie.On back - "WD Steenholdt born 1837, arrived at Linton in 1864". old lintonian collection, bunde steenholdt, b. h. steenholdt

Lakes Entrance Oil Shaft complex which was in production c 1943 to 1952 situated in low terrain north of the town between Myers Street and Palmers Road Lakes Entrance VictoriaBlack and white postcard of Lakes Entrance Oil Shaft complex Lakes Entrance Victoriaoil, exploration

Other number 03726.1 This photograph was used in Lakes Entrance 150 years display held in October 2008Black and white photograph of six Oil workers Keith Scarce and Neil Smith identified at the rear of St Rosieres 1930 where they had their meals, Lakes Entrance Victoriapeople, oil and gas industry

Diary kept by Charles Honybun for 1917 with day to day account of his First World War experiences.Pocket Diary of 1917 of Charles Honybun with one day to a page and pages for notes in front. Memorandum pages in back. Most pages written on by Charles Honybun with his War experiences for January - December 1917. Some loose leaf pages inserted. Flyleaf = C. Honybun 37th Batt A.I.F. 2 M Gbooks, military, ww1, charles henry honybun

Antique glass soda water bottle with glass stopperAntique glass bottle with glass stopperglass, soda water bottles, glass bottles

Index, ill, p.308.non-fictionThis book describes the life of a man, the late Commander J. H. Walker, and of his ship. HMAS Parramatta; both used to represent their service. Inscription on half-title [AU-SyACU ] : "Parramatta was one of the 'little ships' which made the great sacrifice in keeping the hard pressed garrison of Tobruk supplied. She went down fighting gallantly and in doing so added a glorious page to the naval history of our Empire. royal australian navy - history, parramatta (destroyer)

Black and white postcard showing part of Princes Highway below Jemmys Point, undeveloped Bullock Island New Works area and Entrance in distance Lakes Entrance VictoriaLakes Entrance Gippsland Lakesroads and streets, transport, township, waterways

Part of S E Surman collection (album) page 8.Sepia photograph of a young gentleman wearing pinstripe trousers, coat, waistcoat and wide tie, standing in garden setting with right arm resting on wooden rail beside him and left arm by side holding hat.l h bennett, surman collection

1 x enlargement 18 x 25. Donated by Stratford Historical Society with inscription Gippsland Lakes near Kalimna HotelBlack and white post card showing SS Wyrallah steaming west below Jemmy's Point, Kalimna. Rigby Island on left, looking towards Metung, tall trees on cliff in front. Lakes Entrance VictoriaGippsland Lakes from Jemmy's Pointships and shipping, waterways

Portland Town Council. Opalotype or opaltype is an early technique of photography. Opalotypes were printed on sheets of opaque, translucent white glass; early opalotypes were sometimes hand-tinted with colors to enhance their effect. The effect of opalotype has been compared "to watercolor or even pastel in its softer coloring and tender mood."[1] "Opalotype portraits...for beauty and delicacy of detail, are equal to ivory miniatures."[2] The basic opalotype technique, involving wet collodion and silver gelatin, was patented in 1857 by Glover and Bold of Liverpool. Opalotypes exploited two basic techniques, using either the transfer of a carbon print onto glass, or the exposure of light-sensitive emulsion on the glass surface to the negative. Opalotype photography, never common, was practiced in various forms until it waned and disappeared in the 1930s. "Milk glass positive" is another alternative term for an opalotype. Opalotype is one of a number of early photographic techniques now generally consigned to historical status, including ambrotype, autochrome, cyanotype, daguerrotype, ivorytype, kallitype, orotone, and tintype. This and many other historical photographic methods are now considered alternative photographic techniques and are practised by a small number of dedicated artists.Monochrome portrait photograph of a man in a three piece suit. He has a patterned tie on and wears a medallion on his right lapel. He is clean shaven. Yellowish halo around the figure. Opalotype.Front: Br _______/Melb. (Signature, pencil, lower right)mr sutton, sutton, opalotype, portland town council

Monochrome portrait photograph of a man. He has a beard and bushy eye brows and sits with his face slightly in profile. He wears and double breasted jacket with a bow tie. His portrait is placed in an oval framed mount board which is in a rectangular wooden frame. The frame is painted dark brown but has a border of flowers and foliage picked out in gold colour.official portrait photography, civic portrait, mayor, portland mayor, 1800s

Black and white photograph (2 copies- 1 large, 1 smaller laminated), showing the Premier of Victoria, Mayor of Ringwood Max Dueter, and other dignitaries at the unveiling of Plaque commemorating the opening of Lionswood centre.

Over the shoulder, webbing harness for carrying extra equipment."398080"passchendaele barracks trust, webbing, harness

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath

Army green, over the shoulder, webbing spider harness, 65 pattern. For multiple carrying of additional equipment. All clips and brass fittings blackened.passchendaele barracks trust, equipment, spider harness

Over the shoulder harness for carrying extra gear, clips and fittings, blackened army green.“US, KURAUSKA, USRAU” (on buckle).passchendaele barracks trust, webbing harness, equipment

Pilot Officer Wilkinson 400444 was seconded from the RAAF to the RAF flying missions over Germany. His gallantry earned him the Distinguished Flying Cross in March 1944 for numerous successful missions over Germany. He was Killed in Action on 30th of August 1944.Brown timber frame containing 5 metal medals, photograph of Airman, flying patch and plague on red felt backgroundBronze Plaque: Service Number 400444 P.,O. John W. Wilkinson DFC Awarded Distinguished Flying Cross March 1944 Killed in Action over Germany August 1944j h wilkinson, raaf, dfc