These cherry pitters were used in the early 1900's. The Wandin area had many cherry orchards at the time.A cast iron and wood dual cherry pitter which can be mounted to a table or bench with claws tightened by a winged-head screw underneath. The handle has a wooden bulbous knob, two long curved steel shafts which when engaged, forcibly removes the stone or pit from the cherry. It has a rectangular cast iron trough for the unpitted cherries on the opposite end which is inclined. When the pit is removed it falls in to a small bowl you can place underneath and the cherries are pierced onto the prong to be removed by hand, falling again into a small bowl.GOODELL CO. ANTRIM, N.H. U.S.A.cherry pitters, cherry stoners, cast iron, cooking equipment

Jonathan Harris operated a winery on the banks of the Axe Creek, Axedale in the 1850s.A pitchfork with three Metal prongs that are one centimeter diameter at the top of the handle and taper to a point, the two outside ones are 32 centimetres long and are 18 centimetres apart, they curve to the top of the handle, the middle one is 28 centimetres long and is joined the other two at the top of the handle. The three prongs curve away from the handle to 14 centimetres from the line of the handle. The wooden handle is three and a half centimetres diameter at its widest and tapers to two and a half centimetres, it is135 centimetres long. It has some yellow paint on it. Part of the Harris Collection.harris collection, pitchfork

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Two pen and ink drawings of two daisy plants. On left is stem with fine hairs, large serrated leaves with dark upper side and pale under side, clustered at base of stem, with single flat topped daisy flower at top of stem. To the right is stem view with hairy stem, rippled leaves with dark upper side and pale under side, and three stems at top with 2 daisy flowers in full bloom and one bud. Mounted in a double matt (white on grey), framed under glass in wooden frame with silver detail.Front: O. grandiflora (Mt. Loty Daisy-bush) S.A. O. tomentosa (Toothed Daisy-bush) S.A. (lower left) (pencil). CE Woolcock (signature, lower right) (pencil). Back: 31 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema, bontanical drawing

Large coloured photograph mounted on heavy cardboard showing Orchard and pruned leafless fruit trees being sprayed by 2 men one on left in hat, coat and apron, another younger man on right no hat; both spraying from hoses coming from horse drawn tank with large iron wheels (2) and motor driven pump mounted behind tank. Behind fruit trees, planted in rows, is a low, white, wooden post and rail fence on right and there is a background of eucalypts, some white trunked. Some colouring on the photograph.men, spraying, horse drawn cart, spraying equipment, students working outside, orchard, fruit trees

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Drawings of a stem with leaf, flower and seed pod details. Leaves are soft and long, dark green and grow from the central stem. Flowers are bell-shaped and pink-red. From top-bottom is a pale pink flower in full bloom; a leaf top view; a stem detail with pod with whithered petal; top view of flower; side view of white flower; side view of red flower; internal view of flower (splayed open). Work is mounted in a double matt (grey on pink) and framed under glass in gold painted wooden frame.Front: CEW/72 (signature, lower right) (green pencil). Common Heath - Epacris impressa (lower left) (pencil). Common Heath - Epacris impressa (erased, lower centre) CEW (sign, pencil, erased) Back: 5 (upper left) (pen)cema, botanical, collin woolcock, woolcock collection, woolcock, botanical drawings

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Drawings of stem, leaf and flower details. At left is stem with small, long dark green leaves with small white flowers. At top centre is detail of a white flower from a top view and to right is flower view from bottom view. Below this (l-r), t-b) are: side flower view, leaf top view, stem detail with leaves and buds, bottom leaf view. At bottom left is detail of two buds. Mounted in double matt (white on sage), frammed under glass in gold detailed wooden frame.Front: Monotoca scoparia (lower left) (pencil). CEW/82 (centre left in image) (brown pencil). Back: 1 (upper left) (pen)collin woolcock, woolcock, woolcock collection, botanical drawings

Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Drawing of stem and flower detaisl. At far left is back view detail of an orange flower with paler, yellow edges to petals. At centre is a stem detail, depicting a long stem with a large leaf and flowering stem partnered and situated at staggered intervals up the central stem. Flowers are yellow with red centres. On right are three details of a flower (t-b): top view of flower; side view of flower; and side view of emergent bud. Mounted in double matt (white on faun), framed under glass in wooden frame with gold details.Front: Daviesia latifolia (lower left) (pencil). CEW (lower left in image, signature) (maroon pencil). Back: 19 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema, botanical drawings

Photographs, Black and White, of SW6 911, in Royal Park with the golf course in the background. Tram has the destination of "West Coburg via Royal Park (Zoo), Route 68. The "Curves Max Speed 10 MPH" board alongside the wooden fence. Tram has advert for BOAC return airfares, Tudor Royal Whiskey. Photo appears on the rear cover of David Keenan's book "Melbourne Tramways in 1974". The author advises that all photos by the author in Oct. 1973, See htd4644doc.pdf for a letter from the Author to Keith Kings advised of the photograph.trams, tramways, royal park, west coburg, route 68, sw6 class, tram 911

Framed invoice No. E.1675 dated 30/4/192? (assumed 1923), from Noyes Bros (Melbourne) Pty Ltd. to the MMTB for the supply and delivery of one(1) Brill double ended safety car with a Brill 79E truck, excepting wheels and axles. Provides details of price, and customs charges dated 9/1/1923. Has an accounting stamp with initials in blue pencil. Provides details of Noyes Bros contact details, order numbers and phone numbers. Framed in a wooden frame, glazed and card board back and hanging cord.trams, tramways, birney, mmtb, noyes bros, tramcar construction

Framed and glazed photograph of cable tram set, trailer 233, at the Victoria St Terminus, c1900. Has a factory and water tank in the background. Cable tram dummy is loaded with gentlemen and there is a paper boy in front of the trailer. Print mounted onto a wooden chip board and sealed with brown tape around the edges. Two screwed frame hanging supports on either side with one run of string between them. Frame - brown and gold with a buff and black line framed around the photograph. Print has the title "Cable Tram and Dummy - 1890 - 1900".On rear in ink at the top - "Donated to Hawthorn Tram Museum Feb. 19th 2012 Ron Scholten"trams, tramways, melbourne, victoria st, cable trams, tram 233

Student course work from 1972 - an insect collection of 13 Orders from Victoria with class notes detailing killing methods of the era.Collected by BHC student Joanne Morris in 1972 from areas in greater Melbourne, Carrum, Cheltenham, Burnley, Eltham, Mildura, Clayton, Malvern and Ormond. Some from Mildura and Flinders. (1) Insects mounted with pins and hand written labels (Order, Family, Collected date and area). Two wooden boxes with slide in glass lids hand made by the student. (2) Folio of instruction notes, "Burnley College of Horticulture Entomology The Insect Collection." Directions on catching/collecting, killing, spreading and mounting the insects. However the catching part is not included.Box 1 contains name of Student JOANNE MORRIS - with each specimen having a handwritten label. ORDER BLATTARIA (3 specimens) ORDER COLEOPTERA (26 specimens) ORDER DERMAPTERA (1 specimen) ORDER DIPTERA (6 specimens) ORDER HEMIPTERA (11 specimens) ORDER HYMENOPTERA (12 specimens) Box 2 contains ORDER LEPIDOPTERA (25 specimens) ORDER MANTIDA (1 specimen) ORDER ORTHOPTERA (6 specimens) ORDER ODONATA (2 specimens) ORDER PLANIPENNIA (1 specimen), PHASMIDA (No Order label) (1 specimen) ORDER THYSANURA (1 specimen) (2) Folio called Entomology: The Insect Collection KILLING, KILLING BOTTLES, SPREADING AND THE SPREADING BOARD, RELAXING, MOUNTING and REARING information as class notes typed and roneoed on 3 x single sided foolscap sheets.insects, joanne morris, student collection, burnley horticultural college, preserved insects

The Azure kingfisher can be located throughout northern and eastern Australia. It can also been found in parts of Indonesia, New Guinea and surrounding islands. This species frequents the Kimberley region in Western Australia and and the Top End of Queensland. In Victoria, it resides inland near the Murray-Darling Basin. These birds prefer to make their homes near bodies of water such as creeks and rivers. They live in areas with shady vegetation. This particular species of Kingfisher are known for their bright and contrasting colouring and tiny stature. They are the smallest kingfisher found in Australia. These birds feed on yabbies and small fish. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Azure kingfisher is stylised perched upon a wooden stand and has a paper identification tag attached to one of its legs. This bird has a combination of blue, yellow/orange and black plumage. The orange colour is located upon its chest while the royal blue is upon the rear of the bird on its back and head. The blue has faded in places due to age. The specimen is a diminutive bird species with a wide torso and a long and slender black bill. It has a short tail and two glass black eyes. The feet are a pale cream colour.11a. / Azure Kingfisher See Catalogue, page 9. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, kingfisher, azure, azure kingfisher, small birds, brightly coloured birds

Drawing of three birds perched on twigs, with two twigs at top right and bottom of image. Bird at top left is blue, black and white, with long blue tail feathers. Bird at centre has yellow front with black head and white under beak and on neck. Tail feathers and wings are grey. Lower bird has red belly, white feathers under chin with red markings, black head and tail feathers, red patch on back and blue-black wings. Mounted in grey matt under glass in wooden frame.Front: (no inscriptions) Back: 1. Blue Wren. 2. Golden Whistler. 3. Eastern Spinebill (ink and coloured pencil). Collin E. Woolcock (upper left) (sticker, black pen).

The certificate and tie clips were in the possession of Dr John Mainland. Mainland graduated from the University of Melbourne in 1950 with a Bachelor of Science degree. After researching and completing his medical degree, Mainland entered into the field of anaesthetics, training at the Royal Women's and Royal Children's Hospitals, later Alfred Hospital, in 1959. He completed training in 1964 and remained at the Alfred Hospital. During his career, he also became the first anaesthetist appointed to the position of Professor in Victoria. His other achievements include manufacturing a respiratory monitoring module that accompanied astronauts on the United States moon landing and developing a stimulator to lessen the risk of deep vein thrombosis in surgical patients. Mainland became a Fellow of the Australian and New Zealand College of Anaesthetists in 1992, retiring from the profession in 1997.The certificate rests beneath a thin layer of glass kept in a light wooden frame. The certificate is cream in colour with dark brown writing. In the middle is an illustration of Box Hill and District Hospital building. At the bottom of the certificate is the signature of the President and Secretory. On the back of the frame there are two metal loops connected by a thin piece of metal wire. Hanging on this wire are two clips from the Alfred Hospital. The face of the clips is consists of the Alfred Hospital emblem in red and gold surrounded by a border of blue with the name of the hospital inscribed. Masking tape runs the border of the frame.Printed in black ink on back of frame: marlow Galleries / 968 Whitehorse Rd, Box Hill / Ph: 89 2062, 1st floor •Inscribed on face of clips: Alfred Hospital Melbourne For Service •Printed in brown ink on the certificate: Box Hill and District / Hospital / This is to Certify that / Professor J. F. Mainland / was appointed a / Life Governor / on the 23rd day of July 1980 / President Secretary •Signed in blue ink by the President and Secretarycertificate, box hill and district hospital, life governor, mainland, john, alfred hospital

This image shows Bethanga Bridge, which was constructed between 1927 and 1930 in Albury, NSW. The bridge was a necessity due to the building of the Hume Dam (Wier), 1919-1936. Bethanga Bridge is a long, nine-span, riveted-steel, variable depth, Pratt Truss road bridge of nine principal spans of 82 metres and a total length of 752 metres over the flooded valley of the Murray River, now part of Hume Reservoir. Because of its unique location, over the waters of a dam with the border running down the centre of the body of water, the Bethanga bridge is the only built structure shared by both New South Wales and Victoria. It was built 1.6 kilometres upstream of the dam and in 1961 was raised 300mm, with a concrete deck replacing the original wooden deck. The State Rivers and Water Supply Commission of Victoria and the New South Wales Department of Public Works were responsible for the construction works for the Hume Weir under the River Murray Waters Agreement. It is apparent that a similar joint arrangement was made for the construction of the Bethanga Bridge as part of the Hume Weir works.This photograph of the Bethanga Bridge is of historical significance as it showcases the architectural skills of Percy Allen and Vincent Packer. Additionally, it reveals the environmental landscape of the 1920s-1930s, is linked to the Hume Dam and both New South Wales and Victorian heritage. Unmounted black and white rectangular photograph. Reverse: 1997.3196 84-20-3bethanga, bethanga bridge, hume dam, pratt truss, murray river, hume weir, transportation

The Richardson family was one of the very early settler families to establish themselves in the Orbost district. Samuel Richardson was a sawmiller and farmer in Orbost. He built The Curlip, a wooden paddle-steamer of 9 tons gross and dimensions of 43 feet long, 10 feet wide and a depth of 3 feet, on the slipway at their Tabarra sawmill in 1890. The Ballarat Horticultural Society was established in 1859 by a group of thirteen men with the aim of establishing an association for all lovers of horticulture. There were many such societies throughout the colonies making a contribution to their communities. In May 1852 Richard Wicking and his younger brother Frederick followed their father’s footsteps, leaving England to pursue a new life in the distant colony of Port Phillip. Sailing on the maiden voyage of the 'Roxburgh Castle' a new purpose built ship for the long voyages from London to Australia. Arriving on August 28th 1852, having paid their own fares they were "Unassisted Passengers". The brothers spent two years in Melbourne. He spent some tome in Ballarat and became a prominent community member involved in many areas.The Richardson family was one of the very early settler families to establish themselves in the Orbost district. Samuel Richardson was builder of the Paddle Steamer Curlip. This is a useful research tool. An ornately designed card with an oval frame of flowers and cherubs. It is a Ballarat Agricultural Society membership ticket made out to Mr S. Richardson (hand written) and endorsed by R. Wicking , the secretary.on back - hand-written - "J E Richardson"ballarat-horticultural-society richardson-samuel

Without refrigeration, storage of meat was difficult. Flies were a problem, and it was important to keep meat cool and out of the way of pests. One way of doing this was to use a meat safe: a kind of cupboard designed to store meat and keep it fresh enough to eat. Meat safes are ventilated. They were sometimes made with sides of wire mesh or perforated metal, so that air could circulate around the meat while keeping flies and other animals out.The Coolgardie safe was invented in the late 1890s by Arthur Patrick McCormick, who used the same principle as explorers and travelers in the Outback used to cool their canvas water bags Originally they were handmade using materials to hand. In the early 20th century, Coolgardie Safes were manufactured commercially across Australia, and found their way into homes in both rural and urban areas. These safes incorporated shelving and a door, had metal or wooden frames and Hessian bodies. The feet of the safe were usually placed in a tray of water to keep ants away. (refs ABC-Home; Museum Victoria)The Coolgardie safe was an Australian invention used especially in country areas from the 1890s until the mid 20th century. It began to be replaced by ice chests from the turn of the twentieth century in cities and country towns which had ice works. This item is an example of a domestic appliance commonly used before electricity was widely available for domestic use.A cube-shaped metal Coolgardie safe painted blue. It has a triangular hook on the top for hanging or lifting. There are small feet at bottom . The sides are perforated in a Above the door; Inside a rhomboid shape "WILLOW"food-storage coolgardie-safe domestic

Without refrigeration, storage of meat was difficult. Flies were a problem, and it was important to keep meat cool and out of the way of pests. One way of doing this was to use a meat safe: a kind of cupboard designed to store meat and keep it fresh enough to eat. Meat safes are ventilated. They were sometimes made with sides of wire mesh or perforated metal, so that air could circulate around the meat while keeping flies and other animals out.The Coolgardie safe was invented in the late 1890's by Arthur Patrick McCormick, who used the same principle as explorers and travelers in the Outback used to cool their canvas water bags Originally they were handmade using materials to hand. In the early 20th century, Coolgardie Safes were manufactured commercially across Australia, and found their way into homes in both rural and urban areas. These safes incorporated shelving and a door, had metal or wooden frames and Hessian bodies. The feet of the safe were usually placed in a tray of water to keep ants away. (refs ABC-Home; Museum Victoria)This item is an example of a common domestic appliance used before the widespread connection of electricity to homes and refrigeration. The Coolgardie meat safe is an Australian invention used widely in rural areas from the 1890's until the mid 20th century.A metal meat safe, painted white. It has a shelf inside. The door has two perforated rectangular sections metal framed in solid metal. The base is flat.storage domestic coolgardie-safe

A smoothing or wood plane is a wood plane used for making a smooth or decorative moulding to the surface of wood.  Traditionally these planes were made from blocks of wear resistant hardwood, often beech or maple, which were worked to the shape or size required. The blade, or iron was likewise formed to the intended flat or ornamental profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding and smoothing planes for the full range of work to be performed. Large crown Mouldings or smoothing plane surfaces required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. This plane is a coffin pattern smoothing plane and is unmarked so the maker is unknown however it's design and patina indicate it was probably made in the mid to late 19th century and would be regarded as a vintage or antique item sought after today by collectors of vintage tools. A vintage tool made by an unknown maker, that was made commercially for firms and individuals who worked in wood and needed a tool that could produce a flat or level finish to timber. These types of planes came in various shapes and sizes to achieve the required finish to timber surfaces used in cabinet making. This item is a significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools only. Complex moulding wood planeNoneflagstaff hill, warrnambool, plane, flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, great ocean road, plane, moulding plane, complex moulding plane, cabinet makers tools

Built in 1923-1927, the school is the gift from the children of the state of Victoria, Australia, to the children of Villers-Bretonneux as proof of their love and good-will towards France. Twelve hundred Australian soldiers, fathers and brothers of these children, gave their lives for the heroic recapture of the town on April 24th and 25th, 1918. On the front of the building there are two plaques (one in French and one in English) referring to this. In the School Yard, as well as an Aboriginal style mural created by the students of the school and inaugurated on ANZAC Day 2009, is an inscription over the porch on a green background in yellow writing saying : DO NOT FORGET AUSTRALIA Due to the strong bond of friendship between the Australian population and the inhabitants of Villers-Bretonneux. This message expresses the need to remember and show gratitude. Also situated in the school is the Victoria Hall, with its wooden paneling, co-ordinated by the Ballarat Technical Art School with most of the carving being undertaken by Australian sculptor John Grant of Daylesford Technical College in Victoria. The carvings represent fauna and flora from Australia. (http://www.museeaustralien.com/en/?Victoria_school, accessed 04/02/2014)Photographs of each of the Pilister at Victoria School, Villers Bretonneux. Each pilister is carved with an Australian Animal.villers-bretonneux, ballarat technical art school, victoria school, victoria hall, world war, world war 1, australian animals, possum, cockatoo, kookaburra, platypus, lyrebird, koala

My name is Deanne Gilson and I am a proud Wadawurrung woman living on my ancestral Country around Ballarat in Victoria. My practise aims to highlight and bring back traditional women’s symbols and ceremonial practises that reference the lived experience of my ancestors. By reviving traditional marks found on artefacts and women’s business, I am forming links with past ancestral knowledge so that is not lost and continues for the future generations. My art practice relies heavily on the use of symbols and form as a metaphor for the body. I have worked as a full-time artist for over thirty-five years. Many artworks tell stories of the spiritual aspects of culture and myths. Dreaming and Songlines, further creating a yarning space, bring the gap towards reconciliation and healing for my people and others through shared sharing stories. A main focus of my art practice tells the birthing tree and scar tree stories and how Wadawurrung women have evolved and survived, since before and after colonisation. The old symbols find new life, connecting to the contemporary ones, further connecting us all to this Country we all call home.Yaluk, Beep, Murrup, meaning Water, Country, Spirit, incorporates the traditional mark of the wave pattern (often found on wooden shields) used by my ancestors, along with the basalt plains across Wadawurrung Country. By depicting the interaction between the Water and Country, I use ancestral knowledges that are not seen but intuitive to myself, while juxtaposing them against the ancestral stone circle knowledges, embedded with the DNA of our stories. The ochre is reclaimed as real, it is marni-beek, meaning Country, in particular the white ceremonial ochre, often seen on the painted-up figure and used today to reconnect back to our ancestral memory. Reclaiming what was lost through colonisation, but still present in our Dreaming that flows on today through the water spirit. Country has no time limits and water connects to our bodies, which are made up of water. We as a clan, are still here today, living and being on Country, our ancestral spirits live on through us. The original painting is a contemporary account of using ochre to reclaim ancestral knowledge and to be part of the ceremony that is yaluk, beep, murrup. wadawurrung, deanne gilson, water, country, spirit, first nations art

Bob Hymans Collection Bob (Herman) Hymans (a former member of the Royal Netherlands Navy) was born in Bloemendaal, Holland on 30th September 1922. During World War II he fought against the Japanese in the Dutch East Indies (now Indonesia) and was imprisoned in Changi and on the Burma Railway. September 1922. After gaining qualifications as a Ski Instructor, Bob arrived in Falls Creek in July 1950. Working as an Instructor and Supervisor at Bogong Lodge, Bob decided his future was in accommodation. He was successful in negotiating an indenture for land from the State Electricity Commission (SEC). It took Bob two years to build his Grand Coeur Chalet but, tragically, it was burned down in August 1961. Bob also built the first Chairlift in Australia. This was a single chairlift and the structure was built from wooden electricity poles. He was constantly full of new ideas and proposals for the village. Bob Hymans died on 7th July 2007. This Collection of documents and letters tells the story of Bob's endeavours to develop Falls Creek into the ski village it is today.This letter is significant because it reflects the relationship between Bob Hymans and the Management Committee.A letter from the Falls Creek Tourist Area Management Committee inviting representatives of clubs and organisations having established facilities at Falls Creek to meet with the Committee. The Chairman, Mr. H.G.G.Williams would present a progress report.falls creek tourist area management committee, bob hymans

Bob Hymans Collection Bob (Herman) Hymans (a former member of the Royal Netherlands Navy) was born in Bloemendaal, Holland on 30th September 1922. During World War II he fought against the Japanese in the Dutch East Indies (now Indonesia) and was imprisoned in Changi and on the Burma Railway. September 1922. After gaining qualifications as a Ski Instructor, Bob arrived in Falls Creek in July 1950. Working as an Instructor and Supervisor at Bogong Lodge, Bob decided his future was in accommodation. He was successful in negotiating an indenture for land from the State Electricity Commission (SEC). It took Bob two years to build his Grand Coeur Chalet but, tragically, it was burned down in August 1961. Bob also built the first Chairlift in Australia. This was a single chairlift and the structure was built from wooden electricity poles. He was constantly full of new ideas and proposals for the village. Bob Hymans died on 7th July 2007. This Collection of documents and letters tells the story of Bob's endeavours to develop Falls Creek into the ski village it is today.This letter is significant because it documents a changed approach to the management of visitors and transport at Falls Creek.A letter to Licensees at Falls Creek explaining the reason for the introduction of parking fees in some sections of the Falls Creek Tourist Area in the winter of 1960. The system included limited access to free passes amd season tickets. Season tickets could be obtained at a cost of £1/10/-. Parking fees for cars were set at 2/- per day or part thereof and 4/- per weekend or week. The fee for buses was 5/- per day or part thereof.falls creek administration, parking fees falls creek 1960

The 10 photographs were taken at Bones Day, an annual sports competition between the Army Survey Regiment and the RAAF School of Radio, at Laverton on the 13th of November 1985. The two units took turns each year to host the event. The day competition usually comprised basketball, cricket, cross country, golf, sailing, pistol shooting, squash, rifle shooting, softball, tennis, touch football, tug-of-war and volleyball. The “big bone” trophy comprising a large bone from a beast housed inside a wooden framed glass case, was awarded to the winner of the day competition. The “O.H.A.R.A Rock” was awarded to the shooter with the lowest score in rifle shooting. The evening competition often included darts, carpet bowls, hookey, quoits and billiards/snooker. The “little bone” (a mounted chicken bone) was the consolation trophy awarded to the winner of the evening competition. The 3-hour bus trip for the visiting unit on their return was typically very raucous. The history of the Bones Day competition is best described in the booklet titled - Bones of Contention Souvenir Program. 1965. Refer to Item 6267. This item comprises the cover of a program booklet and a set of 10 photographs taken at Bones Day, an annual sports competition between the Army Survey Regiment and the RAAF School of Radio, held at Laverton on the 13th of November 1985. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The colour A4 booklet cover and black and white photographs were scanned at 300 dpi. .1) – A4 size program booklet titled ‘The Bones of Contention’, buff card cover and colour graphics, internal text and cartoon graphics printed in purple. 32 pages dated 1985. .2) - Photo, black & white, 1985. Basketball teams. Back row L to R: unidentified (x2), Bob Croxton, unidentified, Danny Galbraith, unidentified, Steve Burke. Middle row L to R: Rob Jones, unidentified (x2), Sherri (Dally) Burke, unidentified, Evan Allanson, unidentified. Front row L to R: unidentified (x2), Brenton McDonald, unidentified, Max Shaw. .3) - Photo, black & white, 1985. Cricket teams. Back row L to R: unidentified, Bill Griggs, unidentified, Mick Hogan, unidentified, Jim Ash, Dave Wright, Bob Thrower. Middle row L to R: PTE Hudson, unidentified, Brett McAllister, unidentified (x5). Front row L to R: PTE Wigg, unidentified, Brian Partridge, unidentified, Graham Hales, unidentified (x3). .4) - Photo, black & white, 1985. Cross Country teams. Back row L to R: unidentified (x3), Peter Barrett unidentified (x2), Paul Davis, unidentified. Front row L to R: unidentified, Jeff Rudd, unidentified, Greg Rowe, unidentified (x2), Steve Winner, unidentified. .5) - Photo, black & white, 1985. Golf teams. Back row L to R: unidentified (x2), Brian Johnson, unidentified (x2). Front row L to R: Doug Arman, unidentified, Graeme Dowd, unidentified, Peter Imeson, unidentified (x2). .6) - Photo, black & white, 1985. Pistol Shooting teams. Back row L to R: unidentified, Doug Home, unidentified, Tony Clark, Ben Lucas. Front row L to R: unidentified (x2), Daryl Hockings CSM, unidentified, Max Colletti. .7) - Photo, black & white, 1985. Pistol Shooting teams. Back row L to R: unidentified, Greg Sulman, unidentified, Bob Bright, Tom Bloxham, Bob Hopper, unidentified, Bob Garritty. Front row L to R: unidentified (x2), Dan Cirsky, unidentified (x3), Brad Peppler, unidentified. .8) - Photo, black & white, 1985. Softball teams. Back row L to R: Scheryl Delforce, unidentified, Le-Anne (Smallshaw) Shirley, unidentified, Raelene (Munting) Brodie, Carmel (Butler) Fauth, Gill Park. Middle row L to R: unidentified (x2), Viv (Hawkins) Doherty, unidentified, Avril (Bray) Lloyd, unidentified (x6). Front row L to R: Wendy (Leitinger) McCarthy, unidentified, Leah (Hoffman) Peppler, unidentified, Lorraine (Daly) Talbot-Smith, unidentified, Chris Gordon, unidentified. .9) - Photo, black & white, 1985. Tennis teams. Back row L to R: Damien Killeen, unidentified, Ozzie Slade, unidentified, Dennis Learmonth, unidentified. Middle row L to R: Carol Dunstan, unidentified, Ginny (Turner) Rowe, unidentified (x2), Steve Coulson. Front row L to R: unidentified (x4), Col McInness, Peter Ball. .10) - Photo, black & white, 1985. Touch Football teams. Back row L to R: unidentified, Paul Baker, Jeff Willey, Per Andersen, unidentified (x4). Middle row L to R: John ’Junior’ Whaling, Simon ‘Andy’ Capp, Daryl South, Ken Talbot-Smith, unidentified (x4). Front row L to R: Frank Downie, Peter ‘Spoon’ Lefel, Roy Hicks, Greg Oaten, unidentified (x4). .11) - Photo, black & white, 1985. Tug-of-War teams. Back row L to R: unidentified (x2), Steve Burke, unidentified (x3). Middle row L to R: unidentified (x2), JB Zahra, unidentified, Mal Paterson, Geunther Ebenwaldner, unidentified, Peter ‘Spoon’ Lefel. Front row L to R: Kerron South, unidentified, Barry Hogan, unidentified (x2), Brett McAllister. .1 - 'The Bones of Contention' title on booklet cover. Photos .2P to .11P – 'Bones Day 1985' annotated on cover sleeve.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, bones day

This black and white photograph is taken in the Education Department at Western General Hospital. Sr, Nan Deakin is a Nurse Educator with RDNS and is giving a lecture about District Nursing to hospital student nurses before each nurse goes to RDNS Centres. This lecture prepares each nurse before she goes out for a week with an RDNS Sister to visit patients who are receiving nursing care in their home.During their training, Student nurses from several hospitals either attended the Royal District Nursing Service (RDNS), Education Department, or, a RDNS Nurse Educator travelled to the appropriate hospital’s Education Department to educate the Trainees on District nursing through the RDNS Community Nursing Program. Following the lectures Students went to a RDNS Centre and each student accompanied a Trained nurse (Sister) for a week observing and gaining knowledge of all facets of nursing care in the home. This gave them an insight into the home conditions and situations patients faced after discharge from hospital. During 1971 there were 584 Student nurses who received District field experience with RDNS.This black and white photograph shows the back view of three rows of hospital student nurses in their white uniforms and caps, sitting at small tables facing toward, on the left, Royal District Nursing Service (RDNS), Nurse Educator, Sister Nan Deakin, and their hospital Tutor Sister who is wearing her white uniform. The Sisters are standing in front of a large blackboard at the rear of the photograph facing the group. A smaller blackboard is attached to the wall to the left. On the right, the Tutor Sister has short dark curly hair and is standing side-on turned toward Sr. Deakin who is to her left. Sr. Deakin has short dark straight hair; is wearing glasses; and is wearing her RDNS uniform of a light grey skivvie under a darker V neck tunic style frock. She has her hands crossed and is holding sheets of paper in her right hand. There is a dark table to her left with a book and a short collapsible lectern on it. To the left of that is a row of short wooden cupboards and above that an open window with a horizontal striped curtain on the far end. The metal framed tables in front of the nurses have white wooden tops and have books, papers, pens and rulers on them.Barry Sutton MA 75royal district nursing service, rdns, rdns education, western general hospital students, sister nan deakin

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden objects. Traditionally, moulding planes were blocks of wear-resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other workers to pull the plane ahead of the master who guided it. John Moseley & Son: Records indicate that before 1834, the firm is listed at number 16 New Street, London and according to an 1862 advertisement the shop had been established in New Street since 1730, The Sun insurance records from the time show that John Moseley was the possessor of a horse mill in the yard of his premises, which means that some kind of manufacturing was taking place, as the mill would have provided power to run a saw or perhaps a grinding wheel so the probability is that he did not just sell tools, he made them as well. John Moseley died in 1828 and his will he names his four sons: John, Thomas, William and Richard. To complicate matters he also had brothers with the same first names; brothers Richard (of Piccadilly) and William (of Peckham Rye) are named as two of the executors. Brother Thomas is not mentioned in this will, but became a minister and was one of the executors of brother Richard’s estate when he died in 1856. From John’s will, we also learn that, although the shop was in New Street, he resided in Lympstone, Devon. The family must have had a house in that county for quite some time as both sons Richard and William are baptised in Devon, although John and Thomas were baptised in London. In the 1841 and 1851 census records, we just find William in New Street, but in 1861 both William and Richard are listed there as toolmakers. That Richard was staying overnight at New Street was probably just accidental as in 1851 and 1871, we find him with his wife Jane and children in Clapham and Lambeth respectively. In 1851 Richard is listed as “assistant clerk cutlery warehouse” and in 1871 as “retired plane maker and cutler”. Although the actual place of work is not stated, one may assume he worked in the family business. 1862 is a year full of changes for the firm. In that year, William had a new property built at 27 Bedford Street. In the catalogue for the 1862 International Exhibition, 54 Broad Street (later 54-55 Broad Street) is listed for the first time, which may very well coincide with the split of the business into a retail and a wholesale branch. Around the same time, they must have moved from New Street to 17 & 18 King Street because their manufacturing premises had been pulled down to form the New Street from Cranbourne Street to King Street. In January 1865, William died and Richard continued the business. In 1867, the partnership he had with his son Walker and Thomas Elis Hooker, is dissolved. Richard continued tool making at King Street and Bedford Street. Richard retired somewhere between 1867 and 1871, but the business continued. The business is taken over by W M Marples & Sons and tools continued to be made in London until 1904 when manufacturing relocated to Sheffield. A vintage tool made by a well documented company, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the mid to late 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Moulding Plane . J Moseley. maker and R Knight & J Heath also stamped stamped (Owners)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, moulding plane, plane, j heath, moseley