DCPU (Disruptive Pattern Camouflage Uniform) Work dress trousers. Colours - light to dark green through to mid to dark brown. Gore-Tex (Polyester/laminate) type fabric for wet weather. Worn as overpants. Drawstring cotton cord at waistband, with plastic look clip. Two side pockets, at ankles loop and hoop adjustable strap. White colour polyester fabric manufacturers label, inside back waist band.Manufacturers information on label - black ink print. " REFLECTIVE/ IMAGES/ O/N G5.202857/ N/S/N 8405/66/145/7099/ AUG 2003/ BATCH: 912726/0004/ SIZE: XL- 82 CM/ NAME:/ SERVICE/ CARE INSTRUCTIONS/ DRY CLEANABLE/ MACHINE WASHABLE 40dc/ DO NOT BLEACH/ DO NOT SPIN DRY/ DO NOT WRING/ HANG TO DRY/ LIGHT/ COOL IRON".uniform, army, work dress, dpcu, trousers

Black and white photograph of SEC trams No. 38 outbound along Albert St. Sebastopol, just prior to the intersection with the Hamilton Highway. Tram showing destination of "Sebastopol". Has large reflective triangles on the cabs panels. Hamilton direction sign alongside tram. Photo taken after the tram has passed the Photographer. Photograph by Jim Seletto. On Agfa paper. Colour photocopy, laminated, of this photograph on display 5/2000 at 02-02-06In black ink "In the leisurely days of 1956 (wot again) Ballarat 38 trundles out to Sebastopol on a midweek service - despite CRB notices trying to entice it out to Hamilton" and in a purple ink stamp Photograph by J. Seletto".trams, tramways, sebastopol, albert st, hamilton highway, tram 38

Demonstrates the use of the trams in the city area of Ballarat, late 1950's and their use.Black and white photograph of Ballarat 17, loading passengers at the intersection of Sturt and Lydiard St, City, late in a summer evening. Tram has the destination of Gregory St. Many passengers are or waiting to boarding. Has the Post Office in the background and Robert Burns statue. Note most of the passengers are women. Photographer unknown - see history of object. See Keith Kings, The Bendigo Tramways, re the fitting of reflective tape in 1956, page 59.In the rear in pencil - "Ballarat"trams, tramways, city, sturt st, lydiard st, tram 17

Bendigo bogie No. 26 at Fountain, Charing Cross, on 12-4-1959. Tram has been fitted with small reflective triangles. Has Eaglehawk destination. In background is the now demolished City Club Hotel. Tram is the wrong line for Eaglehawk, will have to go through cross over in front. On pole in front of tram is old style road signs for Echuca, Heathcote and Melbourne. Also on pole is 'ALL CARS STOP HERE' sign'Bendigo No. 26 at Fountain 12-4-59, W.Jack photo' in blue inktramways, trams, bendigo, charing cross, tram 26

Four pen and wash sketches - Gannets at Point Danger. Sketches mounted one beneath the other. Sketches have a white background, black ink, several different colour washes, double white mat board, blonde wooden frame, reflective glass, wire hanger on back. Images from top to bottom: Single Gannet / 7 gannets / Gannets sitting, one at the back looks to be in flight / Gannets on the shore, sea behind and an islandFront: Each image is signed 'M. Boag July 2015'. black ink, lower right cornergannets, portland wildlife, birds, point danger

Yields information about the Ballarat Trammies, late 1950's or early 1960 stop work meeting held opposite the tram depot and the workers who took part.Handwritten list of tram worker names involved in a stop work meeting, early to mid 1950's (no dash canopy lighting or reflective triangles) or "out on the grass", opposite the tram depot. Prepared by Glenis Kellett on the back of an envelope, 9 and 10/2018. See Reg Item 1655 for a newspaper report and the April 2024 issue of Fares Please! for the background story. Names used to mark the original photo - see Reg Item 7140.1 and 7140.2sec, unions, stop work

Black and white photograph of SEC Tram 38 in Albert St. Sebastopol heading for the City and Lydiard St. North during 1956. Tram has large white reflective triangles on the front dash and roof ad on side. Shows details of Albert St. and the roadway, along with weeds either side of track. Photo by Jim Seletto. Two Photocopies made 4/1999 for display purposes. Copy 1 in print folder, copy 2 at Bungaree.On rear in black ink "Ballarat 38 at the tree lined suburb of Sebastopol 1956". Also stamped in faint black ink "Photograph by J. Seletto". Also written on in pencil is photo (27), page 23 and page 22 indicating use in a magazine.trams, tramways, albert st, sebastopol, ballarat, tram 38

Photo of No. 13 crossing Sturt St. from Lydiard St. with Post Office in background. Tram in transition of fitting dash canopy lights. Has been painted with tiger stripes and white stripe under windows. Tram has an auxiliary board on front, conductor swapping doors over, Has 'The Age' on front panel, number by side of headlight, large reflective tape triangles. Also has 'Georgille' roof ad. Taken on 26-12-1960.'SEC Ballarat Tramways, No. 13 from Lydiard St. turning into Sturt St. 26-12-60' in blue ink and 'W.Jack' stamped in purple inktramways, trams, lydiard st., post office, sturt st, tram 13

Item from the Ballarat Courier of 16/11/1996 written by Lorrie Brown quoting Peter Hiscock, chairman of the Ballarat Tourism Board that the funding for the feasibility study into the plan to re-introduce trams back to Ballarat, was still awaiting funding support from the State Government. Looks at the route outlines and the trams in Christchurch. Peter expressed surprise that the Ballarat Council had not lent its financial support. Includes a photo of Peter in a reflective mood. Item on Page 2 of the Courier.feasibility study, ballarat city tramway, ballarat revival

Demonstrates the use of the trams in the city area of Ballarat, late 1950's and their use.Black and white photograph of Ballarat 27, loading passengers at the intersection of Sturt and Lydiard St, City, late in a summer evening. Tram has the destination of Gardens via Sturt St West and an auxiliary board, but it cant be read. A number of passengers are boarding. Has the Commonwealth Bank building in the background, and the tram stop signs on the pole in front of the photo. Photographer unknown - see history of object. See Keith Kings, The Bendigo Tramways, re the fitting of reflective tape in 1956, page 59.In the rear in pencil - "Ballarat"trams, tramways, city, sturt st, lydiard st, tram 27

Demonstrates the use of the trams in the city area of Ballarat, late 1950's and their use.Black and white photograph of Ballarat 19, loading passengers at the intersection of Sturt and Lydiard St, City, late in a summer evening. Tram has the destination of Gardens via Sturt St West and an auxiliary board, but it cant be read. Many passengers are boarding. Has the Commonwealth Bank building in the background, and the tram stop signs on the pole in front of the photo. Photographer unknown - see history of object. See Keith Kings, The Bendigo Tramways, re the fitting of reflective tape in 1956, page 59.In the rear in pencil - "Ballarat"trams, tramways, city, sturt st, lydiard st, tram 19

Photo of tram No. 38 in Sturt St. at Lydiard St. in transition of having dash canopy lighting fitted. Tiger stripes on bumper bars, and white stripe under windscreen. Has large reflective tri-angles. Has Castrol Ad on roof of tram. In background is old Commonwealth bank building, Mutual Life Association building. On tram stop pole is section sign, 'Cars stop here' sign and it is painted as a compulsory stop. Taken 26-12-1960.SEC Ballarat No. 38 in Sturt St. 26-12-60' in blue ink and 'W.Jack' stamped in purple inktramways, trams, sturt st., dash canopy lights, tram stops, tram 38

Sign - galvanised steel sheet with a baked white enamel paint finish and overlaid with a reflective white and red "Stop" and two walking legs to warn motorists that a pedestrian or passenger was about to leave or board a tramcar. Fitted to the folding doors of Z, A and B class tramcars mid to late 2000's?. It replaced a larger green fold out sign with an image of pedestrians and the word "stop" on it. Sign has not been used. See Reg Item 4386 for another example.trams, tramways, tramcars, signs, passengers, safety

The item was possibly issued Air Force personal in the event of being shot down ..1) Rectangular webbed canvas bag with attached flap lid secured with metal press studs and belt hook. .2) Emergency signalling mirror, black background, orange coloured printed directions on the non reflective side and mirror central. .3) & .4) Plastic rigid containers with a metal spring clasp contains medical/survival supplies and directions for use. .3) contains the medical supplies and .4) unclear what some are but has razor blades, sewing kit fishing line and hook kit.survival kit, emergency

Swivel mirror mounted medium brown, wooden mantle stand with 2 drawers in base, Drawers are lined with green and yellow floral paper. Drawer fronts are rounded wood; one drawer has a front piece missing. Wooden uprights are a decorative, curved shape. Base has 4 round, turned wooded feet (5th foot now detached, was located in centre front between drawers). Mirror has lost its reflective coating around edges. It rests, at about 70 degree angle, on metal bracket. Marking on base in black crayon “6 2”, and pencil letters on 1 drawer “& &”, and “S S” (or “”S 8”). flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, mirror, dresser mirror, furniture, 19th century, bedroom furniture

Colour Photograph of SEC tram No. 11, prior to fitting of dash Canopy lighting, c1960, at the intersection of Bridge and Main Streets. Tram No. 11 is arriving from Victoria St. and is about to cross the junction with the Mt. Pleasant line. Trams stops are visible on poles, as is the overhead arrangement, shops on both sides. Tram has large reflective triangles on cab front. Caltex service station sign on right side of photograph. On pole with tram stop sign is a sign with the Olympic rings, pointing way to Lake Wendouree.ballarat, bridge st, victoria st, olympics, tram 11

Demonstrates the way the Australian Bi-Centenary and other celebrations were carried out with souvenir prints.Framed print of a horse drawn tram (3 horses) see Reg Item 699 at the corner of Sturt and Lydiard St, within a wooden frame, with non-reflective glazing. The print by the Harris House of Photography has been mounted onto a piece of Masonite. On rear are picture hanging metal loops and a wire hanging strip. In the bottom right hand corner of the print are "Celebrating Australia's Bi Centenary / Ballaarat's 150th Anniversary / Ballaarat's Tramways Centenary" and in the bottom left hand corner "Reproduced by Harris House of Photography 1988".trams, tramways, horse trams, sturt st, lydiard st nth, ballaarat tramway company, town hall

Colour photograph of SEC No. 39 outbound on Mt. Pleasant route, at Gladstone street. Photo taken after tram has past the photographer. Tram has destination "Gardens via Drummond Nth". In photo are a tram stop shelter of the type erected by the Museum at Gardens Loop, tram stop signs and a red truck. Tram has a roof ad board. Tram has large reflective triangles on cab fronts. Prior to 1960. Destination has been changed prior to arriving at terminus. Two extra copies of prints added May 2005.ballarat, mt pleasant, tram stops, shelters, tram 39

Item is part of the BCOF Association collection. Refer Cat No 7625This is a large photo album. The front and rear covers are made from wood. The basic colour is dark brown. On the front cover is painted a picture of Mt. Fuji, a Japanese village, a bridge and a small building on land, a tree and an archway. Colours are white, gold, red and mauve. It also has a very fine layer of reflective material - possible pearl shell. Inside are a large quantity of Aust soldiers in Japan - postwar. There are tourist type photos as well. Tokyo - Kure - Iwakuni. There are coloured postcards amongst the photos. It also has numerous scenes of Japanese civilian life. There are a few unused pages at the end of the album.ww2, japan, bcof

Colour photograph of SEC Ballarat Bogie trams 43 and 34 crossing at the Russell or Murray St. Loops in Sturt St. West. Tram 43 inbound, showing destination "CITY". Tram 34, outbound, has an auxiliary board. Both trams fitted with large reflective triangles. Taken prior to fitting dash canopy lights. Photo taken mid to late 1950's (43 ex Geelong in 1956 and dash canopy lights fitted early 1960's. Print has a serrated edge. High gloss surface both sides of print. Image is going brownish - greens appear to be darkening out.Stamped on rear - fading - "Ansco ?? / P.M. Colour Finishing Service"sturt st. west, russell st, murray st., tram 43, tram 34

This portable, hand held visual signaling lamp, with trigger mechanism and inner reflective disk, was used for optical communication via Morse code, with the concave mirror tilted to focus the light into pulse signals. Larger versions of these lamps are fixed on ships or pedestals and have shutters in front of the light that are opened and closed to transmit signals. Smaller hand held versions like the Cape Nelson example have a concave mirror that is tilted to focus the light into pulse signals, and despite their size the lamps were renowned for their brilliant light. Invented by Arthur C W Aldis (1878‐1953) and pioneered by the British navy in the late nineteenth century, they continue to be used to the present day. Details on the Cape Nelson lamp include a serial number, a date of 1960 and the initials of the Department of Transport, which at that time incorporated the Commonwealth Lighthouse Service. Another lamp of the same date which is held at Wilsons Promontory was provided to the lighthouse by the Department of Shipping for signaling ships but was also used for communicating with Cliffy Island, 18 nautical miles away. Point Hicks also has an Aldis lamp and an associated case, which is painted an army green colour. A fourth lamp and case formerly at Cape Schanck disappeared from the collection sometime between 1995 and 2003. These types of lamps are not rare in museum collections.These types of lamps are not rare in museum collections however the Cape Nelson example has a reliable provenance to the lightstation and has first level contributory significance as a fine example of the Aldis lamps that were distributed to lightstations throughout Victoria and Australia.This object is comprised of a black metal encased Aldis lamp with electrical cord and associated wooden carrying case with metal clasp and red leather hand grip. yes

This memorial designed by Peter Blizzard is dedicated to more than 36,000 Australian men and women were held captive as prisoners by the enemy during the Boer War, World War 1, World War 2 and the Korean War. This memorial honours and names them, the names are etched into the black granite wall adjacent to the pathway. Water springs from beneath the 'Lest We Forget' stone then flows down the wall into the narrow watercourse in front of the first group of names and into the reflective pool, then continues past the second group of names. Finally it disappears under the pathway, returning to its source under the 'Lest We Forget' stone to start the journey again. Water symbolizes the essential nature of man, sacrifice, suffering, spirituality, healing, cleansing, birth and re-birth. The memorial is created from natural materials and is designed to be in harmony with the Ballarat Botanical Gardens, and to create a sense of timeless, dignity and respect. The long pathway of the monument is designed to create a visual perspective of the large distances that Australians travelled to the various conflicts. The paving is shaped like railway sleepers in recognition of the role that railways and railway journeys were relevant to many prisoners of war. The Memorial was declared the first military memorial of national significance located outside Canberra in 2008. Dedication services are held at the memorial on the Sunday closest to 6th of February, ANZAC day and on Remembrance Day. The memorial is of historical and aesthetic importance to the people of BallaratMonument made from carved bluestone, water feature and flagsInscribed with the names of 36,000 Australian men and women were held captive as prisoners by the enemy during the Boer War, World War 1, World War 2 and the Korean War. The listing is by surname and initials and shown by war.prisoners of war, boer war, world war 1, world war 2, korean war, lest we forget, peter blizzard

Pattie BEERENS (1962- ) Born Sunshine, Victoria Pattie Beerens was enrolled in the Graduate Diploma of Ceramics at Federation University in 2018 after completing a Graduate Certificate Visual Art at the Victorian College of Arts, University of Melbourne in 2017.Artists' Statement: Red. Broken structure on its side supported with an unrecognisable form. It is cast from an electronics packaging carton. Triangular arrows piece the structure with a spider on either side. I created fertility spiders to protect the Minoan women from predators. I collected spiders as a child to ward off the bullies and, like the octopus, spiders have eight legs and a head and body. The stylised spiders reference links between the Minoan octopus and other symbols of fertility. The natural light elongates the form in a shadow reflection on the floor. The form is surrounded by black space. This piece took on an anger I felt on the day that [Malcolm] Turnbull was overthrown and materialises the bully-boy behaviour we were witnessing. What is most interesting about this piece is that I created it as a Minoan reflection. It dawned on me , when I had it ready for the kiln - on the day that Dutton challenged the Turnbull leadership, that my anger was both reflective and contemporary because nothing seemed to have changed. We were witnessing first hand how the power struggles continue and goodwill suffers." Winner of the 2018 Deputy Vice-Chancellor's Awardpattie beerens, ceramics, sculpture, available ceramics

The Trustees of the Australian Ex-Prisoners of War Memorial have defined a Prisoner of War to be a person who was captured by a common enemy and/or interned in a neutral or non-combatant country. To be defined an Australian Prisoner of War, the person needs to be either an Australian Born person serving in the Uniform of an Australian Service; or in the Uniform of a friendly country, or Born Elsewhere and serving in the Uniform of an Australian Service. A Prisoner is a person who has lost personal privileges, suffers deprivation of liberty or is unable to return home or dies in captivity.Colour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial." ballarat, ballarat botanical gardens, peter blizzard, ballarat north gardens, war memorial, prisoner of war, prisoners of war

DESCRIPTIONColour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial."australian ex-prisoner of war memorial, peter blizzard, prisoner of war, ballarat north gardens

DESCRIPTIONColour photograph of a War Memorial designed by Peter Blizzard. The granite wall of the Australian Ex-Prisoners of War Memorial features a listing the names of Australian Prisoners and was opened on the 6th February 2004 by General Peter Cosgrove AM MC to recognise and remember over 36,000 Australians who became Prisoners of War during the Wars of the 20th Century. In 2008 the Memorial became the First Military Memorial of National Significance outside Canberra. The Memorial which was designed by Peter Blizzard OAM, symbolises that all Australian prisoners embarked on a journey to serve away from their homeland and acknowledges the hardship, deprivation, brutality, starvation and disease endured by Prisoners of War during their capture and the scars that many continued to endure upon their repatriation to Australia. Heritage Victoria describes the memorial in the following way" "A JOURNEY OF HONOUR, REMEMBRANCE AND HEALING - The Australian Ex-Prisoners of War Memorial is a dramatic and highly symbolic tribute to the sacrifice made by more than 35,000 young Australian service men and women in four theatres of war. At the heart of the monument is a stark, 130 metre long, highly polished black granite wall, engraved with the names of all Australian prisoners of war. The names on this 'honour roll' are listed in historical order from the Boer War in 1899, through to the Korean War in 1953. It is a testament to the contribution made by so many. Standing sentinel at the centre of the Memorial are six huge basalt obelisks, etched with the names of all the countries where Australians were held prisoner of war. The obelisks stand in a large reflective pool, set back from the central pathway, symbolising the distance that separated Australia's prisoners of war from their homes and their loved ones. Opposite the pool is a larger obelisk flanked by flagpoles and a ceremonial stone on which to lay wreaths. The central pathway is itself symbolic, with each of the paving stones cut in the shape of a railway sleeper. The pathway defines 'the journey' taken by the prisoners of war and the journey visitors take around the monument. At the end of the granite wall where the pathway ends, visitors face a large stone engraved simply 'Lest We Forget'. Water flows from beneath the stone, along the base of the granite wall and into the reflection pool in which the obelisks stand. This cycle of flowing water, symbolising spirituality, healing, cleansing, birth and rebirth, guides visitors on their journey through the Memorial."australian ex-prisoner of war memorial, prisoner of war, ballarat north gardens, peter blizzard

The official opening of the Obost Theatre was held on 20th August, 1931, opened by Hon. T. Paterson M.H.R. Thomas Paterson was Minister for Markets and Migration from June 1926 to January 1928. He was elected as the Country Party Member for Gippsland in 1922 and held the seat until he retired in 1943. In January 1928 his portfolio was changed to Minister for Markets and in December of that year it was again changed to Minister for Markets and Transport. Nance Gilbert was the sister of Mary Gilbert, Orbost teacher and historian. Nance Jenning was a professional golfer, daughter of Jonathon Gilbert and Annie Cameron.This item is reflective of local community events in the first half of the 20th century.A white, rectangular paper program with blak ink. It is for the official opening of the "Orbost Theatre".On front - "Nance Gilbert - Aged 6 years"orbost-theatre-program paterson-thomas

On loan from John Mundy family. Searching for gold in the Orbost district began in the last half of the 19th century and continued until circa 1930s. The original Mundy family moved to a land "selection" at Betebolong in the early 1880's from Buchan. This item is reflective of the late 19th -early 20th century gold mining era in East Gippsland.A small square bottle with a push-in cork stopper. This bottle contains specks of gold or gold dust. mining-gold

Daughter of George Temple and Mary McAuslane of Castlemaine, Hilda married James Kerr in 1893 and lived at Lincluden, Raymond Street, Orbost. Her husband was a Scot who had come to Australia as a ship's doctor and practised in NSW before visiting Orbost on a government vaccination programme. He liked Orbost and returned there, its first doctor, until his death in 1928. Hilda was sometimes referred to as 'Mrs Dr Kerr.' She and her sisters Mabel Stewart Temple and Margaret Ferrie Temple were all talented writers and musicians.This booklet is an example of the talent of Hilda Temple Kerr. Hilda Temple Kerr (1874-1956) grew up in Orbost. She was very talented and published several books. It is reflective of the style of poetry in the early 19th century.A small book with a cream coloured cover. It is titled Nell - A Story of the Sea and contains poetry, a libretto written by Hilda E. Temple Kerr for a musical event, a musical cantata by Mr W. R. Furlong.On front cover - donated by Connie Cruickshank.music kerr-hilda