Page 2 of Ray Pearson's Photo Album. Brown card page with two photographs (landscape format) placed on page with plastic photo corners. The bottom photograph also has decorative metallic card photo corners beneath the newer plastic ones. Both photographs depict trams in streetscapes. The photo corner plastic is perishing and one photograph (top left) is loose on the page. Hand written inscriptions are written under the both photographs and also appear on the back of the loose photograph. One inscription beside the bottom photo is scribled out. Hand written inscription in biro under photographs. Top photo: VICTORIA ST TERMINUS Bottom photo: LYDIARD ST BALLARAT Beside bottom photo, scribbled out: SORRENTO STEAM TRAM To back of loose photograph - In top left corner with an underline: 8 To centre: Victoria St Terminus / Ent Route to Sardess / 20th Aug 1971

As noted under "Inscriptions)A4 photocopy of 2 portraits. One of Flora Miller and one of Catherine Walker (nee Kitty Miller) and familyFlora Miller (nee McInnis) wife of Robert Miller, early settler. In 1868 Robert Miller selected block number 21 Watts Road, Ventnor, next to Quoin Hill and the family lived there. Catherine Walker (nee Kitty Miller) photographed with three of her children around 1888. (The identity of the man and the youngest child in this photograph are unknown). Records show that Catherine's husband, James Walker, died in 1885. Her youngest child was her daughter, Flora, on left in photo.flora miller (nee mcinnis), catherine walker (nee kitty miller), robert miller, james walker, lynette carr

Item in the Cooper Collection.Soft Cover Book. Cover - cardboard, silver and white colour print, front, spine and back. Black colour background, front illustration colour photograph - portrait of a pilot. Book - colour portrait photograph of author. 417 pages, cut, plain, white colour paper. Illustrated with black and white and colour photographs. Inscription on title page.Inscription on Title page - handwritten blue ink, "Keith and Ann/ It was good to share time together with both of you/ May your journey continue to be one of healing./ David H. Early/ 13 April 2014."publications, books, autobiography, journal, pilot, cooper collection

Sketch of Hans Beck by Max Graf; unknown who did other two sketches. Hans Beck, Sydney based wool buyer, interned Bathurst Goal and Camp 1.Square cream board with 3 Black and white photograph of 3 sketches, laminated onto board: a head and shoulders sketch of a man in a suit and tie, drawn by Max Graf (internee), inscription Max Graf 1940; looking into a cell, inscription H M G Bathurst 30 Sept 1939; Sketch of a section of Bathurst goal, inscription Mr H Beck Esq Goal Bathurst A Hall.wool buyers, camp 1, bathurst goal, hans beck, max graf

A wooden, slotted handle racquet. Inscription along neck and stem of obverse: BLUE RIBBON. Inscription across neck of reverse: HARRY C. LEE & CO/NEW YORK. Inscriptions featuring manufacturing and patent details situated along the sides of the stem. Company logo 'LEE' printed on leather and cloth butt cap. Materials: Wood, Glue, Lacquer, Ink, String, Gut, Leather, Paint, Metal, Clothtennis

A wooden, open throat, slotted handle racquet, with a 13 1/2 inch head. Inscription along base of head of obverse: LAKEWOOD. Inscription across base of head of reverse: HARRY C. LEE & CO/NEW YORK. Inscriptions featuring manufacturing and patent details situated along the sides of the stem. Materials: Wood, Glue, Lacquer, Ink, String, Gut, Leather, Paint, Metal, Clothtennis

A wooden, slotted handle racquet. Inscription across throat of obverse: VINCENT RICHARDS/GOOD SHOT! Inscription across throat of reverse: HARRY C. LEE & CO/NEW YORK. Inscriptions featuring manufacturing and patent details situated along the sides of the stem. Company logo 'LEE' is stamped across leather butt cap. Materials: Wood, Glue, Lacquer, Ink, String, Gut, Leather, Metal, Plastictennis

A transitional flat top tennis racquet with a convex throat. Inscription across throat on obverse: ECLIPSE/TRADE MARK/HORSMAN/N.Y. Across the top of the head is a partly illegible inscription, which may spell 'SPECIAL'. Across the length of the side of the stem is the inscription: ORIENTAL/GUT. Ornamentally latticed cuts into the handle around all sides act as the grip. Materials: Wood, Gut, Metal, Lacquer, Leather, Stringtennis

A wooden racquet with a concave throat and an octagonal handle. Throat on obverse features decal inscription: HARVARD. Throat on reverse features a decal of a crowned garter with the inscription: E. KENT. Company logo also features on blue butt cover, impress in gold. Handwritten inscription across handle on reverse reads: WILMA D. Materials: Wood, Glue, Lacquer, Metal, Gut, Ink, Leather, Paint, Clothtennis

A wooden racquet with a split open throat, and long handle. The base of the head on the obverse features decal inscription: WOVEN-WOOD. The short stem on the reverse features a decal of a crowned garter with the inscription: E. KENT. Patent information across left side of stem. A hand poked, then inlaid inscription across the handle on obverse: CED. Materials: Wood, Glue, Lacquer, Metal, Gut, Ink, Leather, Cloth, Stringtennis

Wooden racquet with a blue painted throat, and a yellow painted stem. Inscription featured across both sides of the racquet: HAWTHORNE/MEDALIST/M/W/SPEED FLEX/FIBRE FACE. Inscription around the inside of the base of the racquet head: MADE IN BELGIUM. Decal inscription across the crown on obverse: STRATA-BOW. Materials: Wood, Nylon, Ribbon, Fibreglass, Leather, Plastic, Adhesive tape, Ink, Glue, Lacquertennis

An oval racquet with an elongated head, red whipping, glazed, parchment-reinforced shoulders, and a fine-grooved handle grip. Inscription across crown on obverse: SLAZENGERS'. Inscription across throat on obverse: DOHERTY/SLAZENGERS/PATENT/STRINGING. Inscription along right side of handle: PATENTED/OCT. 12. 1915/SLAZENGERS' NEW YORK. Materials: Wood, Gut, Metal, Glue, Lacquer, String, Ink, Parchmenttennis

The double bevel gauge is used as a drawing tool, to measure, set angles and transfer angles. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.This double bevel gauge has three lengths of flat brass that swivel at the joints. The long piece has curved ends and indented arcs, one on each side, along the length. The short pieces have diagonal ends. The centre length has a hole through the middle. The short pieces have a screw with its head above the flat brass. The tool has an inscription. It once belonged to shipwright Laurie Dinks.Bevel marked "L DILKS" "G. M."flagstaff hill, warrnambool, great ocean road, shipwreck coast, maritime museum, maritime village, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, ship maintenance, cooper, tool, marine technology, bevel, drawing tool, measuring tool, laurie dilks, l dilks, port and harbours melbourne

This statue is a Louros type statuette, known from the Louros cemetery of Naxos, Greece. The figure is standing and has some plastic features. There are no facial features and no arms, just stumps at the shoulders. Such figurines are found in ancient graves. This is most likely a replica of an antique figurine originating at Naxos cemetery, Greece. Cycladic figurine depicting a feminine figure on carved pedestal. A wire necklace with medallion is attached, and inscribed YNNE-TAN with laurel wreath. Handwritten inscription in ink on base (see inscription). Sticker attached to base carries handwiring which reads 'FF'.Louros type figurine 2800-2300 B.C. Nat. Arch. Museum Athens 1978

The attribution of this item as a thyroid elevator is currently uncertain.This is one of a collection of items associated with Dr Felix Henry Meyer (1858-1937). Meyer was a very prominent early obstetrician and doctor, playing a part in the establishment of the role of the chair of obstetrics at the University of Melbourne in 1929. He was also a foundation member of the Royal Australian College of Surgeons.Surgical tool. Consists of a central shaft, the shape of which bows out in the middle into an elongated oval, with prongs in the shape of double hooks at either end. Inscription on one end of the tool reads 'MAYER & MELTZER', and inscription at the other end reads 'LONDON'.'MAYER & MELTZER' 'LONDON'surgery

A wooden racquet with a convex throat. Inscription across crown on obverse: SERVICE. Inscription across throat on obverse: "HARVARD". The letter 'M' has been carved into the right side of the handle. Materials: Wood, Metal, Glue, Lacquer, Ink, Gut, Leathertennis

WW1 German steel scabbard for the 1898 German Bayonet. Painted blackNo inscriptions

Part of a collection of 'Rose & Valentine' series of Post Cards. Copied by John Jansson 1984B&W postcard. Photograph of Mr George Cox, an elderly fisherman sitting outside his hut, which was near the end of the Cowes Jetty (East).No Inscriptionslocal history, photography, photographs, postcards, local identities, black & white postcard copy, george cox, fisherman, jetties, cowes, phillip island

Black and White Photograph. Date derived by comparing to later photo of same buildingNo Inscriptions.

Sepia Photograph, also B&W large print. Mr. Hocking (left), was Headmaster 1898-1917.No inscription

The etymology of the word portmanteau: A portmanteau was a travelling bag used as a mailbag. During the eighteenth and nineteenth centuries, both newspapers and letters were transported in these leather mailbags that opened into two sections. A portmanteau is a word created by the blending of two other words in terms of the sounds and meaning. Portmanteau itself is a portmanteau; made up of the French ‘porter’ meaning ‘to carry’ and ‘manteau’ meaning ‘cloak’. The other meaning of this word is ‘a travelling case or bag' but was coined by Lewis Carroll with its new meaning in 1882. History: English merchant Thomas Witherings established mail routes throughout Europe in the 1620 s. He drew up a proposal in 1635 for an English mail system based in London in which portmanteau (containing 2 leather bags lined with cotton) could travel to European towns with sealed bags of mail for protection against spies. The system was put into motion and some 26,000 letters were mailed safely and unopened between London and European towns each week. In the nineteenth century, the official portmanteau was used to carry the mail, letters and newspapers on Americas New England stagecoaches that travelled the postal routes. Before 1789 newspapers were mostly excluded from the mail and the official portmanteau. After the first United States Congress (1789–1791) the postmaster general allowed printers free postage to communicate reports and articles of Congressional informational newspapers with other publishers in other towns and cities for distribution. Example of a mid-20th-century leather bag not connected to a person of significance from history or a historic event. The significance lies in the historic social aspect of this type of bag and how it got its name. This type of bag was popular from the mid 19th century for personal use and fell out of Portmanteau soft leather bag with lock, leather handles (one broken) and with metal plate on front.No inscription flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket. Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized cream blanket with watermelon and mint stripesNo inscriptionwool, blanket, blanket fever, no label

Collector says: "As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket.Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized, checked blanket, brown, blue and creamNo inscriptionwool, blanket, blanket fever, no label

Collector says: As a general rule I only collected blankets with a label, but there are always exceptions. The colour ways of these 3 are just so gorgeous I had to include them - especially as the brown and blue from the Bass Valley op shop was 1 dollar! The cream one with the mint panel + watermelon stripe is one of my favourite blankets ever despite no label - it looks like the blanket version of the Agnes Martin painting called Gratitude which is exactly how I felt finding this simple, beautiful, well kept blanket."Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Double sized multicolour checked blanketNo inscriptionwool, blanket, blanket fever, no label

inscriptions