10 inch, Mk II, Steel Common ShellOn side - "21/D 7 C/96" On Base - "[1]0 IN II/[C] s/R.L.shell, common, common shell, mk ii, ammunition

Mk III palliser shot was intended to be fired from the main guns of HMVS Cerberus.Only know shot from HMVS Cerberus.Cylindrical steel projectile with pointed nose.None.palliser shot, ammunition

A 14 pounder shell casing manufactured for the two prototype guns used by the Victorian Navy. Unlike the later Mk I and M II 14 pounders which used separate components the ammunition for the prototype guns was assembled into one fixed piece and crimped together.Only a handfull of these sheels are known to exist as later 14 pounder guns used separate shell casing and projectiles.Cylindrical shell casing made of brass.On base - "N"nordenfelt shell case, ammunition

This fixed round was unique in that it could only be fired from two guns produced by Maxim-Nordenfelt as prototype guns. Subsequent guns were loaded with a separate projectile and shell casing. The 14 pounder Quich Firing (QF) guns were acquired for use on the armed commercial steamer SS Courier. While not in use they were used at Fort Queenscliff before being returned to the Victorian Navy. The guns were then fitted to HMVS Nelson and then HMVS Cerberus in 1897. In 1900 they were fitted to field gun carriages and accompanied the Victorian Naval Contingent to China.Cylindrical steel projectile with conical nose.Noneammunition

Nordenfelt Six pounder quick firing guns were used by land and naval forces to counter torpedo boats.The projectile and its shell casing are of the type and age used by the Victorian Naval Forces but could equally have been used by the land forces.Cylindrical steel shell with cone shaped nose.On side - "H/88"common shell, hotchkiss, 6 pounder, ammunition

A blank Victorian Naval Forces Discharge Certificate used when a member of the Victorian Naval Forces left.Only known copy of a blank certificate with the stub that was retained by the Navy.Piece of paper with fields to fill in.victorian navy victorian naval forces discharge certificate

Represents the Victorian Navy in 1888. Reproduction of original painting by Arthur Victor Gregory.Reproduction of the original held by the Royal Historical Society of Victoria.

The painting depicts HMVS Cerberus, HMVS Nelson and one of the P&O Mail Steamers.Of great significance as the colour scheme of Cerberus and Nelson is shown.Original oil painting by George Frederick Gregory.G F Gregory 72victorian navy, hmvs cerberus, hmvs nelson

A replica 1870 Victorian flag made of polyester.1870 victorian flag, victorian flag

One inch Nordenfelt machine guns were used on board vessels of the Victorian Navy to combat the torpedo boats. One inch, as opposed to the .45 inch, Nordenfelt guns used by the Land Forces could penetrate the boilers of torpedo boats and thereby stop them.none

ammunition

Photograph depicting Peter Ratley aka Peter Searle and his Victorian Navy colleagues standing in front of a tall building with two torpedoes on a trolly in front of them.Photograph depicting Peter Ratley aka Peter Searle and his Victorian Navy colleagues standing in front of a tall building with two torpedoes on a trolly in front of them.X over Peter Ratley aka Peter Searlevictorian navy victorian naval forces torpedoes

Silver plated soup tureen measuring 390 mm wide, 250 mm deep and 220 mm high.Presented to J. A. Thompson as a mark of esteem from C. T. Mandeville K. L. Murray O. Richards J. Breaks J. D. Dayle J. Tubb W. A. Holmes A. Mahler R. M. Collins E. J. Huseyman R. Malcolmson J. Frogley A. Harrow J. Nelson T. J. Beatty H. Schreiber A. M. Houston H.M.V.S. Cerberus Nov. 16th 1881.

The Sea-Cell pamphlet was written by Captain Henry Moors of the Land Forces Signal & Torpedo Corps. In the pamphlet Captain Moors investigates the theory that the zinc case of the torpedo, the iron hull of Cerberus and the sea water combined to form a sea-cell. (battery) Captain Moors investigates whether this sea-cell could have resulted in a current being produced that was strong enough to detonate the torpedo.Eleven page pamphlet measuring 137 mm x 215 mm exploring the possibility that the Cerberus torpedo accident was caused by a Sea-Cell effect.sea-cell torpedo

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown man taken by John William Lindt.A black and white portrait of an unknown man taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A black and white portrait of an unknown woman taken by John William Lindt.A black and white portrait of an unknown woman taken by John William Lindt. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913.7 Collins Str. East/ J.W. Lindt/ Melbournejohn william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

A letter written to Maurice Keppel by John William Lindt in 1903.A letter written to Maurice Keppel by John William Lindt in 1903. John William Lindt was born in Germany in 1845. At 17 he took a working passage to Australia on a Dutch sailing ship. Taking up work as an itinerant piano-tuner, he traveled amongst towns in Victoria and New South Wales before settling in Grafton in 1863 where he became assistant and apprentice to photographer Conrad Wagner. After a brief return to Germany in 1867 Lindt took over management of Wagner’s studio in 1869. He married Wagner’s daughter, Anna on 13 January 1872. Over 1873-1874, using the slow and laborious wet-plate collodion process, John Lindt produced photographs of the local indigenous people both in their environment conducting actual traditional ceremonies in the Clarence River district, and in his studio. Twelve of this series is included in his 1874 album Australian Aboriginals. John Lindt moved to Melbourne in 1876 where he worked for Batchelder & Co. before opening his own opulent studios at number 7 at the top of Collins Street opposite the Treasury, in 1877. John Lindt's business of this period was wide-ranging, and included portraits, records of Melbourne public buildings and streetscapes, the Botanical Gardens, and Port Melbourne. He was a welcome photographer of members of parliament and other Melbourne personalities, their society and cultural life including the theatre, and was known as a ‘rich man’s photographer’ for those whose families he grouped informally on the lawns in front of their mansions, with servants at the rails of the upstairs balconies. He continued with landscape, producing folios Fernshaw and Watt River Scenery, Victoria ( c.1878-82), Scenery on the Ovens and Buckland Rivers, Victoria (c.1878–82) and Lorne, Louttit Bay and Cape Otway Ranges (1883). Sales of his Black Spur scenery amounted to approximately 25,000 copies printed from the original negatives between 1882 and 1892. John Lindt, in collaboration with Nicholas John Caire, produced a tourist booklet on the area around "The Hermitage" in 1913. Maurice Keppel, from Ireland, was one of the first landholders in the newly surveyed town of Marysville in 1864. He and his wife ran the successful Keppel’s Australian Hotel. Two of their sons, John and Jerry, established a farm and opened up the surrounding high country. The Keppel lease was one of the longest held in the high country and the Keppel Family were amongst Marysville's pioneering families.maurice keppel, keppel family, keppel's australian hotel, marysville, victoria, john william lindt, conrad wagner, australian aboriginals, batchelder & co, nicholas john caire, anna lindt

The whistle was used by the horse tram driver.dark brown wooden whistle, dried pea inside, mouth piece cork?, whole for a string, sign of usage on mouth piecetram, public transport, tramways

These are the Merry Moreland Maidens, a WW 2 fund raising group who sang and performed sketches in costume around Melbourne for the Red Cross Comforts Fund. They were led by Mrs May Lecky. Back row. Left to right: Mrs Patterson, Noake, Noble, Cork, Huntley, Egginton, James, Smith, Wakelin, Johnson Front row. Left to right: Mrs George, Pye, Chapple, Millist, Luke, Gallant, Thompson, Luckherd (?), Denman, Numa, Bartlett. (Mrs Violet Johnson). Black and white photographmoreland, world war two, red cross