Plane Jack type maker Stanley Rule & Level Co No 27. Wooden bed, iron top section, iron rusting.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Akershus Slott Akershus Castle Oslo, souvenier booklet with soft cover 27 pages written in Norwegian & English with colour photographs.place, building, castle, norway-oslo-castles

List of National Trust buildings registered within the City of Whitehorse as at 27/6/1996 with registration status listed. 8 pagesList of National Trust buildings in the City of Whitehorse as at 27 June 1996.national trust of australia (victoria), city of whitehorse, heritage, buildings

On 18 June 1853 the 839 ton ship 'Earl of Charlemont' was wrecked near Barwon Heads. Her 450 passengers and crew struggled ashore without loss of life. Among them were John and Anne Morton, their 3 sons and 5 daughters. Before leaving Ireland, their eldest son George Pickering Morton had married Anne Eliza Burrowes. Their son, Thomas Richard Burrowes Morton, born in Melbourne 12 March 1854 was usually known as 'T.R.B.' Aged 26, he married Louisa Mary Esther Morgan. In 1909 Louisa Morton had a cottage built at Point Lonsdale and named it Dorrington, surname of her Welsh Grandmother. During previous holidays the family had stayed at the 'Terminus'. They travelled by train from Blackburn to Port Melbourne, paddle-steamer to Queenscliff and horse-bus to Point Lonsdale.Black and white copy , No 3 of set of 27 - Mary Violet Holder nee Morton (Doll, Dolly) in bathing costume at beachholder, mary violet, also known as 'doll', 'dolly'.

On 18th June 1853 the 839 ton ship 'Earl of Charlemont' was wrecked near Barwon Heads. Her 450 passengers and crew struggled ashore without loss of life. Among them were John and Anne Morton, their 3 sons and 5 daughters. Before leaving Ireland, their eldest son George Pickering Morton, had married Anne Eliza Burrowes. Their son, Thomas Richard Burrowes Morton, born in Melbourne on 12 March 1854, was usually known as ' T.R.B.' Aged 26 he married Louisa Mary Esther Morgan. In 1909 Louisa Morton had a cottage built at Points Lonsdale and named it 'Dorrington', surname of her Welsh Grandmother. During previous holidays the family stayed at the 'Terminus'. They travelled by train from Blackburn to Port Melbourne, paddle-steamer to Queenscliff and horse-bus to Point Lonsdale.Black and white copy, No. 9 of set of 27 - Stan B. Holder holding Tommie Holder, son of Dolly and Frank Holderholder, stan b., dolly, frank, tommie

Weatherboard Home painted cream & green built for Francesca Schwerkolt C.1960's. 27 Deep Creek Road, Mitcham.schwerkolt, francesca, deep creek road, mitcham, no. 27

The 8th Light Horse (Indi) Regiment superseded the 16th Light Horse in 1919. It had its headquarters at Benalla with sub-units throughout the Upper Murray and Northeast Victoria. In December 1941, the regiment converted from horse to mechanised, initially as 8th Reconnaissance Battalion then in July 1942 it became 8th Cavalry Regiment and served in Northern Territory. As Japanese threat to the mainland declined the regiment was disbanded.Shows soldiers in uniform 1941Black and white photograph of 27 soldiers of 8th Light Horse in winter uniform with haversack and belt. Possibly dressed to go on leave

Metal Tools & Tool Box - Mr Anthony Bone (Saddler Main Street) Ref STN P33 27-9-2013stawell

Pride of Place, the first 60 years of buildings in Bendigo and surrounds, an exhibition at the Post Office Gallery, 27 pages with photographs & maps.Bendigo Art Gallerybendigo, buildings, heritage buildings, bendigo-history-architecture-buildings

The Ring Ouzel can commonly be found in small flocks or pairs. They have a distinctive white strip across their chest which helps to identify this species. They generally reside in large open grassy spaces such as farmlands, and can be found in mountainous areas with large boulders and slopes. They are located across Western Europe, the Mediterranean and Northern Africa. In some countries such as Ireland, England and Wales, the Ring Ouzel is endangered due to human disturbances, however elsewhere the species thrives. Although this is a taxidermy mount, it is highly similar to the real female Ring Ouzel. 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.This female Ring Ouzel is a predominantly brown in color. It has a white strip across its chest. The torso is a lighter shade of brown. The tale of the Ring Ouzel is long and a darker shade of brown when compared to the red colouring of the body. This specimen stands upon a wooden perch and has an identification tag tied around its leg. The bill is thin and has a pointed appearance. It has been styalised by the taxidermist in an open position which conveys the idea that this bird is mid call.Swing tag: 109a / Ring Thrush / Catalogue Page 27 / Metal tag: 4139 /taxidermy, taxidermy mount, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, ring ouzel, ouzel, european birds, african birds, mediterranean birds

Artillery shells were designed to be recycled and spent shells were returned to the munitions factory for re-filling, a mark engraved upon the head-stamp at each re-filling. Millions upon millions of shells were recycled and re-fired. Relationships with ‘objects’ were forged as recycled objects of conflict were welcomed into people’s homes. Such objects were embodied with personal experiences of war, later to become objects textured with memory, remembrance, and longing – attributes that clearly go beyond an object’s form and function. 18-Pounder Artillery Shells: The Great War Recycled and Re-Circulated Categories :Material Culture Machine Subscribe Share on facebook Share on twitter The intention of war is to kill, to maim and to destroy using, for example, the agency of 18-pounder artillery shells (so-called because they weighed 18 pounds). The shells were loaded in to the 18-pounder field guns used by the Royal Artillery and targeted to destroy German batteries and trenches as well as to shoot down aeroplanes. Horse-drawn field gun, Canal du Nord, France. Taken by First World War photographer David McLellan. Available via the National Library of Scotland as CC BY-NC-SA Horse-drawn field gun, Canal du Nord, France. Taken by First World War photographer David McLellan. Available via the National Library of Scotland as CC BY-NC-SA In Under Fire, Henri Barbusse recounts how the incessant and diabolical din of war constantly bombarded the soldier body with the unendurable noise of bursting shells that caused pain to the ears (Barbusse 2010 [1933]: 207). The noise was so ‘monstrously resounding’ that one felt ‘annihilated by the mere sound of the downpour of thunder’ (Barbusse 2010 [1933]: 206). Artillery shells were designed to be recycled and spent shells were returned to the munitions factory for re-filling, a mark engraved upon the head-stamp at each re-filling. Millions upon millions of shells were recycled and re-fired. A mound of spent shell cases, Nord, Nord-pas-de-Calais, France. Taken by war photographer, Tom Aitken, 1918. Available via the National Library of Scotland as CC BY-NC-SA. A mound of spent shell cases, Nord, Nord-pas-de-Calais, France. Taken by war photographer, Tom Aitken, 1918. Available via the National Library of Scotland as CC BY-NC-SA. People’s experience of the First World War did not end with the armistice. Whilst the noise of the artillery had ceased, the noise of war was remembered. Harry Patch on arriving home injured recalled being ‘jumpy for a while’ with the least noise prompting him to dive for cover (2009: 114). Something else materialised. Relationships with ‘objects’ were forged as recycled objects of conflict were welcomed into people’s homes. Such objects were embodied with personal experiences of war, later to become objects textured with memory, remembrance, and longing – attributes that clearly go beyond an object’s form and function. The head-stamp of these particular shells displays the British broad arrow and the initials ‘EOC’ indicates that they were made at the Elswick Ordnance Company, England; the initials ‘CF’ signal that the charge was loaded with cordite, a standard propellant. Spent shells were illicitly scavenged from massive mounds by both soldiers and civilians alike to become personal souvenirs or to swap or sell. Spent artillery shells were crafted, often using a hammer and a bent nail. The crafting of trench art reflects the construction of an identity that offers momentary relief from the hell experienced in the trenches. The lid of an 18Pounder shell which has been adapted for use as an ash tray.Lot 27 1927, 18Pr, III, EOC, C/F, Defence broad arrow,

Includes black and white photos and sections: General history of Wattle Glen and surrounding area, gold mining, 4060 Wattle Glen, Opening school buildings (newspaper articles from The Advertiser, 1922), Sunnyside Estate Wattle Glen, Wattle Glen 4060, copies of early documents, parents protest for a new classroom, I remember Wattle Glen School Days (various recollections over various years includes class photographs), Wattle Glen Primary School Today inc. lists of staff and students 1982. Second Section titled: 1997 - 75th anniversary update From the Principal, School Council, Parents Association, Newer memories, computers at Wattle Glen, Past teachers 1983-1997, 1997 classes, memories Kathleen Cuxson, Reunion 1997, Memories of Cyril Cummins (Principal 1950-52), 1997 memories, 1997 update compiled by Naomi Windisch. No page numbers This book is significant in that it documents the history of the Wattle Glen Primary School and its wider community to 1997. It is one of a very few publications written specifically on this rural community within the Shire of Nillumbik.Spiral Bound. Inscribed - For the Eltham Historical Society Collection in exchange for the '1999 Chronology', 27/4/9975th anniversary, state school no. 4060, wattle glen primary school

These are exercise books belong to the first pupil of the then Victorian Deaf and Dumb Institution. A slim soft covered exercise book with brown and blue marbelling on cover, blue binding over spine. Contains, handwritten in ink, by Lucy Lewis, the first pupil of the Victorian Deaf and Dumb Institution, exercises in arithmetic using £sd. Addition, subtraction, etc. Copied, probably from a board as there are no mistakes! On inside cover in handwriting "S. Lucy A. Lewis / Feb 27 1865 / To June 1866". deaf children australia, lucy lewis, deaf education, victorian deaf and dumb institution

l.r; ELS seal, l.r; The Green Bridge 27, l.r; E.L Spowers 1926print, printmaker, printmaking, woodblock, female artist, linocut, bridge, ducks, farming, farm, countryside

This photograph is part of the West Sydney Collection which depicts the period around Second World War in Australia from the perspective of a young unknown woman.photographic postcardme 1943 Boomerang photo service 27 piccadilly arcade 220 Pitt stportrait; woman; australia; west sydney

Robin Boyd was an invited speaker at the 1967 New Zealand Institute of Architects Conference held in Queenstown, New Zealand. From New Zealand, he travelled on to Montreal, Canada, where he was Exhibits Architect for the Australian Pavilion at Expo ‘67. Colour slide in a mount. Suburban architecture, possibly Australia or New ZealandMade in Australia / 27 / APR 67M4 / Encircled 16 (Handwritten) / Encircled 1 (Handwritten)slide, robin boyd

Softcover"October 27, 1986 - John, have a very special birthday, best love Suzy"music, opera, walsh st library

The original images of Clendon Flats are taken by photographer Lyle Fowler and are held in the State Library of Victoria collection.Colour slide in a mount. Magazine image, Underside of deck, Clendon Flats, Armadale (1940), Melbourne, Victoria, Australia. (Architect: Roy Grounds)Made in Australia / G2 (Handwritten-Cancelled) / 27 (Handwritten-Cancelled) / Encircled 5 (Handwritten)slide, robin boyd

ORIGINAL PHOTOGRAPH OWNED BY MR. MICHAEL KIRCE BACK TO CLUNES, 1925..REPRODUCTION SEPIA PHOTOGRAPH OF STREET PARADE IN FRASER STREET, CLUNES. BACK TO CLUNES 1927.On Front; Stamped Hornby's Studio Ballarat. Handwritten in black ink 18/11/27local history, photography, photographs, shops, l.cook, tea rooms, downes boot warehouse, g. mangles, central garage., events and celebrations, back to clunes

Poster promoting the 150th Royal Melbourne Show, 1998The ROYAL MELBOURNE SHOW 17-27 THE BIGGEST EVENT IN THE EVENT STATE 1848..1998wool marketing, royal agricultural society of victoria

Poster promoting the 150th Royal Melbourne Show, 1998The ROYAL MELBOURNE SHOW 17-27 THE BIGGEST EVENT IN THE EVENT STATE 1848..1998wool marketing, royal agricultural society of victoria

Salt-glazed terracotta jar with flanged rim on opening. Two toned brown colouring.S.S written in black marker on base. No 1 27 1/2 engraved on base.domestic items, food storage and preservation, jar, terracotta, two-toned, domestic.

Black and white group photograph being 4th Platoon, No. 4 Recruit Course conducted at Puckapunyal August 1975. Includes soldiers from 8/13 VMR.On board at front centre : " 4 - Rec - Crs, 27 - 8 - 75, 4 - Pl ".

Max COWARD ( -1991) Born Ballarat Max Coward was training to be an art teacher at the Ballarat Technical Art School from 1937 to 1941. He enlisted in the A.I.F. and was a Naval Trainee at Flinders Naval Depot in 1941. During these years Max Coward was described as a cartoonist and illustrator, and was attached to the Naval Intelligence Division in 1945, producing stories and drawings for the Navy newspaper Dit. His work was reproduced in the Christmas annual, HMAS Mk IV and the Army educational journal, Salt. Coward was active as a printmaker in the 1970s. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed limited edition linocut print showing a family of birdslls 'Family Group; lc edition '27/32' lrs 'Max Coward 65'art, artwork, max coward, coward, alumni, birds, chicken

Diggers & Mining. Getting the Gold. Slide: Sketches at the Gold Fields. This cartoon (from the Melbourne Punch, Aug, 27, 1857) illustrates what frequently happened on crowded leads. Depicts miners digging their tunnels only to end up digging into the next lead. Markings: 27 994.LIF:4. Used as a teaching aid.hanimounteducation, tertiary, goldfields