GEOFFREY RICARDO (1964- ) Born Melbourne, Australia 1984-86 Bachelor of Arts (Fine Art), Printmaking, Chisholm Institute of Technology, Melbourne 1987-89 Printing Assistant at Bill Young Studios, Editioning intaglio prints, King Valley, VIC 1988 Full-time Studio Technician at Printmaking Department, Chisholm Institute of Technology, Melbourne 1989-90 Graduate Diploma (Fine Art), Printmaking, Monash University, Melbourne 1991 Traveled to England, France, Spain and USA (Winsor & Newton International Travelling Bursary, National Students Art Prize) Worked in private studios in Gaucin, Spain and New York, USA 1994-95 Master of Fine Arts, Monash University, Melbourne 1995 Guest Lecturer, Victorian College of the Arts, Melbourne Traveled to Europe and America 1996 Guest Lecturer, Royal Melbourne Institute of Technology, Melbourne 1990-98 Sessional Lecturer, Monash University, Melbourne 1998 Traveled to America and Mexico 2001-05 Sessional Lecturer, The Victorian College of the Arts, Melbourne 2003-10 Printmaking Workshops, Warrnambool TAFE, Warrnambool, VIC 2004 Traveled to Europe, Mexico and Cuba 2005 Lecturer, National Art School (Summer School), Sydney Sessional Lecturer, Monash University, Melbourne Lecturer, Institution of Koorie Education, Deakin University, Geelong, VIC SOLO EXHIBITIONS 2012 ‘Collection of Works’ The Art Vault Mildura ‘Deeper Meanings’, The Incinerator Gallery, Melbourne ‘Three Projects’, Australian Galleries, Glenmore Road, Sydney Melbourne Art Fair Stand F33, Australian Galleries, Melbourne 2009 ‘Anno Domino, Antarctica and The Anatomy Lesson’, Australian Galleries Derby Street, Melbourne The Art Vault, Mildura, VIC 2008 MV Orlova (Quark Expeditions), The Drake Passage, Antarctica 2007 ‘Herd’, BMGArt, Adelaide ‘Herd’, Australian Galleries Painting & Sculpture, Sydney 2006 ‘Herd’, Australian Galleries Painting & Sculpture, Melbourne 2004 ‘Recent work’, BMGArt, Adelaide 2003 ‘The Rapunzel Suite and Other New Works’, Australian Galleries Works on Paper, Sydney ‘Recent Works’, Australian Galleries Painting & Sculpture, Melbourne ‘Recent works’, Cowwarr Art Space, Cowwarr, VIC 2002 ‘The Rapunzel Suite’, Australian Galleries Works on Paper, Melbourne ‘Strange Games’, Australian Galleries Works on Paper, Sydney 1999 ‘A Dark City Narrative’, Australian Galleries Works on Paper, Sydney ‘A Dark City Narrative’, Australian Galleries Works on Paper, Melbourne 1998 Cullity Gallery, School of Architecture and Fine Art, University of Western Australia, Perth 1997 Delaney Gallery, Perth Chapman Gallery, Canberra BMGArt, Adelaide ‘Menagerie’, Australian Galleries, Sydney ‘Menagerie’, Australian Galleries, Melbourne 1995 ‘Paintings, Prints and Sculpture’, Australian Galleries, Sydney ‘Prints, Paintings and Sculpture’, Australian Galleries, Melbourne 1994 Lawrence Wilson Art Gallery, University of Western Australia, Perth Graham Galleries + Editions, Brisbane ‘Wishful Thinking, Prints and Sculptures’, Lawrence Wilson Art Gallery, University of Western Australia, Perth 1992 ‘Prints, Sculptures and Watercolours’, Australian Galleries, Melbourne and Sydney 1990 ‘Watercolours, Prints and Small Bronzes’, Australian Galleries, Sydney ‘Paintings, Prints and Sculptures’, Australian Galleries, Melbourne GROUP EXHIBITIONS 2013 ‘Sculpture by the Sea’ Cottlesloe, Western Australia 2012 ‘Brave New World’, Toyota Community Spirit Gallery, Port Melbourne, VIC ‘Sculpture by the Sea’, Bondi, Sydney 2011 ‘Sculpture by the sea’, Aarhus, Denmark ‘Artwork to Tapestry’, Tarrawarra Museum of Art, Healesville, VIC Burnie Print Prize, Burnie Regional Gallery, Burnie, TAS ‘large exhibition of small works’, Australian Galleries, Roylston Street, Sydney ‘large exhibition of small works’, Australian Galleries, Derby Street, Melbourne ‘Nature of the Mark’, Australian Galleries, Smith Street, Melbourne Rick Amor Print Prize, Montsalvat, Eltham, VIC 2010 ‘Summer show’, Australian Galleries, Glenmore Road, Sydney ‘Summer stock show’, Australian Galleries, Smith Street, Melbourne ‘Sub10’, Substation, Melbourne ‘McClelland Sculpture Survey and Award 2010’, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘Artists’ Prints made with Integrity I’, Australian Galleries, Smith Street, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC 2009 ‘Artists’ ink: printmaking from the Warrnambool Art Gallery Collection, 1970-2001’, Ararat Regional Art Gallery, Ararat, VIC ‘Lorne Sculpture’ (Winner), Lorne, VIC 2008 ‘Summer Stock Show’, Australian Galleries Smith Street, Melbourne 2007 ARC Biennial (Art, Design and Craft), Queensland University of Technology Art Museum, Brisbane ‘Prints Tokyo: International Print Exhibition’, Tokyo, Japan Seoul International Print, Photo and Edition Works Art Fair, Seoul, Korea Guanlan International Print Biennial, Guanlan, China ‘Summer Stock Show’, Australian Galleries Works on Paper, Sydney ‘Summer Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Antipodean Bestiary’, Project Space / Spare Room, RMIT University, Melbourne Montalto Sculpture Prize, Montalto Vineyard and Olive Grove, Red Hill South, VIC McClelland Sculpture Survey and Award 2007, McClelland Gallery + Sculpture Park, Langwarrin, VIC ‘2007: Works from the studio’, Lancaster Press, Melbourne ‘50 - a print exchange portfolio’, Geelong Art Gallery, Geelong, VIC ‘Small Pleasures’, Australian Galleries Painting & Sculpture, Melbourne ‘Stock Show’, Australian Galleries Painting & Sculpture, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne 2006 ‘Partnership or perish’, Academy of the Arts, School of Visual and Performing Arts, University of Tasmania, Hobart Libris Awards, Artspace Mackay, Mackay, QLD ‘Summery’, Australian Galleries Painting & Sculpture, Sydney ‘Summer Stock Show’, Australian Galleries Works on Paper, Melbourne ‘Bookish’, Australian Galleries Works on Paper, Melbourne Melbourne Art Fair, Australian Galleries, Melbourne ‘Artists for Kids Culture’, Brightspace, Melbourne ‘50th Anniversary Exhibition’, Australian Galleries Painting & Sculpture, Melbourne 2005 ‘End of Year Group Exhibition’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Works on Paper’, Australian Galleries Works on Paper, Melbourne ‘Expansion’, Lancaster Press, Melbourne ‘The Art of Collaboration’, Singapore Tyler Print Institute, Singapore ‘Double take’, Arts Project Australia, Melbourne ‘Small Treasures - 20 emerging and established artists’, TILT Contemporary Art, Melbourne Jacques Cadry Memorial Art Prize, Fox Studios and State Library of NSW, Sydney ‘Tales of the City’, Australian Galleries Painting & Sculpture, Melbourne ‘A Decade of Collecting 1995-2005’, Cairns Regional Gallery, Cairns, QLD ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Surface Tension: 21 Contemporary Australian Printmakers’, University of Tasmania, Launceston, TAS ‘Neo-millenium’, Toyota Community Spirit Gallery, Melbourne 2004 ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Group Exhibition’, Australian Galleries Painting & Sculpture, Melbourne ‘Species’, Australian Galleries Works on Paper, Melbourne ‘In the presence of creatures great and small’, Australian Galleries Works on Paper, Sydney ‘Tapestries from the Victorian Tapestry Workshop’, Australian Galleries, Melbourne ‘Sculpture’, Australian Galleries Painting & Sculpture, Sydney ‘Contemporary Australian Prints’, National Arts Club, New York, USA ‘Contemporary Australian Prints’, Gallery 101, Melbourne ‘Contemporary Australian Prints from the Collection’, Art Gallery of New South Wales, Sydney ‘Bridge’, Toyota Community Spirit Gallery, Melbourne ‘Vivid’, Fortyfive Downstairs, Melbourne Lake Gallery, Paynesville, VIC 2003 ‘Paper matters’, Lawrence Wilson Art Gallery, University of Western Australia, Perth ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Less is more’, BMGArt, Adelaide ‘The ink’s on me: Bill Young master printmaker’, Wangaratta Exhibitions Gallery, Wangaratta, VIC ‘Fantastic and Visionary Art’, Touring: Global Arts Link, QLD; Ipswich Regional Gallery, QLD ; Orange Regional Gallery, NSW; Manning Regional Gallery, NSW; Parramatta Heritage Centre, Sydney; Ballarat Regional Gallery, VIC 2002 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Artists for Kids Culture’, Brightspace, Melbourne 2001 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Six Degrees of Collaboration’, RMIT Faculty of Art, Design and Communication Gallery, Melbourne ‘Reciprocal Moves’, Warrnambool Art Gallery, Warrnambool, VIC International Print Triennial, Kanagawa, Japan ‘Fantastic Art’, Orange Regional Gallery, Orange, NSW ‘Dancing Made a Man out of Me’, The Switchback Gallery, Monash University, Gippsland, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Celebration’, Regional touring exhibition, VIC 2000-01 ‘Workings of the Mind: Melbourne Prints of the 1960s to the 1990s’, Touring: Grafton Regional Gallery, NSW; Toowoomba Regional Art Gallery, QLD; Nolan Gallery, Canberra; Bendigo Art Gallery, VIC; PercTucker Regional Gallery, QLD 2000 Shell Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA The Hutchins Art Prize, Long Gallery, Hobart ‘Artists for Kids Culture’, Brightspace, Melbourne 1999 Shell Fremantle Print Award, Fremantle Arts Space, Fremantle, WA ‘We are Australian’, George Adams Gallery, Victorian Arts Centre, Melbourne Rena Ellen Jones Memorial Print Award, Warrnambool Art Gallery, Warrnambool, VIC ‘National Works on Paper’, Mornington Peninsula Gallery, Mornington, VIC ‘Artists for Kids Culture’, Brightspace, Melbourne ‘Pleasure’, Australian Galleries, Melbourne 1998-99 ‘Australian Prints’, Art Gallery of New South Wales, Sydney 1997 ‘KNOCK, KNOCK’, Australian Galleries, Melbourne ‘Woven Colour, The Art of Tapestry’, Dr Earl Lu Gallery, Singapore 1996 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Academy of Art & Culture, Calcutta, India ‘Synergy’, Touring: Lalit Kala Akademi, New Dehli, India; Jehangir Nicholson Gallery, Bombay, India; Birla, India ‘Contemporary Australian Tapestry’, Frederikshavn Kunstmuseum, Denmark; Australia House, London, UK 1995 ‘Interweave - Tapestry A Collaborative Art’, Heide Museum of Modern Art, Melbourne ‘Contemporary Printmakers’, La Trobe Regional Gallery, Morwell, VIC ‘Contemporary Australian Tapestry’, Australian High Commission, Singapore ‘Circus Capers’, Caulfield Arts Complex, Melbourne 1994 M.P.A.C. Print Award, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA Australian Universities of Visual Art, Australian High Commission, Singapore ‘Prints, Paintings and Sculpture’, BMGArt, Adelaide Fourth Australian Contemporary Art Fair, Royal Exhibition Building, Melbourne 1993 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA 1992 Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Transitional Times’, Print Council of Australia, Melbourne ‘Second Kochi International Triennial Exhibition of Prints’, Japan 1991 Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA ‘Table Top Sculpture’, Australian Galleries, Melbourne ‘Art 91’, London Contemporary Art Fair, London, UK 1990 M.P.A.C. Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Fremantle Print Prize, Fremantle Arts Centre, Fremantle WA ‘The Christmas Show’, Intaglio Printmaker, London, England ‘Australian Contemporary Art’, AZ Gallery, Tokyo, Japan 1989 National Student Art Prize, Mitchell College, Bathurst, NSW Fremantle Print Award, Fremantle Arts Centre, Fremantle, WA City of Doncaster Acquisitive Print Prize, Manningham Gallery, Melbourne ‘Affiliations’, Monash University Gallery, Melbourne 1988 M.P.A.C. Acquisitive Print Prize, Mornington Peninsula Arts Centre, Mornington, VIC Henry Worland Memorial Print Prize, Warrnambool Regional Art Gallery, Warrnambool, VIC 1987 ‘The Comedy Show’, Print Guild, Melbourne ‘Fluxus Art Flow’, Melbourne 1986 Mornington Peninsula Arts Council Acquisitive Print Prize, Mornington Peninsula, VIC Chisolm Institute of Technology, Graduating Students exhibition, Melbourne AWARDS 2013 King Valley Art Prize (printmaking) 2009 Lorne Sculpture Exhibition (Winner), Lorne, VIC 1989 Windsor and Newton International Travelling Bursary, UK Linbrook International First Prize for Printmaking, Australia COMMISSIONS 2005 Tapestry design for Bairnsdale Hospital (woven by the Victorian Tapestry Workshop, Melbourne), Bairnsdale, VIC 1999 Tapestry design ‘Emblem’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1995 ‘A Night of Infectious Laughter’ Poster, St Kilda Festival, Melbourne 1994 Tapestry design ‘Elephant Gingham’ (woven by the Victorian Tapestry Workshop, Melbourne), Australia 1993 Tapestry design for the Festival of Perth Official Poster (woven by the Victorian Tapestry Workshop, Melbourne), Perth RESIDENCIES & PROJECTS 2013 ‘Come In Outside’, Collaboration set design for Pocketfool 2011 Mildura Wentworth Arts Festival Project, Mildura, VIC Residency, The Art Vault , Mildura, VIC 2010 ‘Wish’, Collaboration set design for Pocketfool, Artplay, Melbourne The Art Vault (included continuous public flag making workshops which were flown as part of The Wentworth Mildura Art Festival), Mildura, VIC 2009 The Art Vault (included two public printmaking workshops), Mildura, VIC 2008 Artist in residence, MV Orlova, Quark Expeditions, Antarctica 2003 Residency, Bairnsdale Regional Health Service, Bairnsdale, VIC 1998 Residency, School of Architecture & Fine Art, University of Western Australia, Perth 1997 Residency, La Salle/Fia, College of the Arts, Singapore 1996 Artist in residence, Victorian Tapestry Workshop, Melbourne 1993 Reduction Aquatint Workshop & Residency, Graphic Investigation Department, Canberra School of Art, Canberra NB: all residencies have included workshops involving students, children or the general public COLLECTIONS Artbank, Sydney Art Gallery of New South Wales, Sydney Canson Australia Pty Ltd, Australia City of Box Hill, Melbourne City of Whitehorse, Melbourne Downlands College, Toowoomba, QLD Geelong Grammar School, Geelong, VIC Gold Coast City Art Gallery, Gold Coast, QLD Griffith University, Gold Coast, QLD Helensvale High School, Brisbane Holmes à Court Collection, Perth Latrobe Regional Gallery, Morwell, VIC Monash University, Melbourne Mornington Peninsula Arts Council Collection, Mornington, VIC National Gallery of Australia, Canberra National Gallery of Victoria, Melbourne Parliament House Art Collection, Canberra Print Council of Australia, Melbourne Private collections in Australia, Switzerland, USA, UK, Singapore, Germany, Japan, Malaysia, Holland Queen Victoria Museum & Art Gallery, Launceston, TAS Queensland Art Gallery, Brisbane Queensland University of Technology, Brisbane Shire of Diamond Valley, Diamond Valley, VIC Star of the Sea College, Melbourne The Melbourne Club, Melbourne University of Central Queensland, Brisbane University of Technology, Sydney Wagga Wagga Regional Art Gallery, Wagga Wagga, NSW Warrnambool Regional Art Gallery, Warrnambool, VIC BIBLIOGRAPHY PERIODICALS AQ Journal of Contemporary Analysis, Vol. 70, Issue 4, July-August 1998 AQ Journal of Contemporary Analysis, Vol. 70, Issue 6, November-December 1998 AQ Journal of Contemporary Analysis, Vol.71, Issue 7, April 1999 Backhouse, Megan; “Going out of print and back to basics”, The Age, February 2003 Bellamy, Louise; “Renaissance of Western Art”, The Age (A2 section), 26 November 2005 Clabburn, Anna; “Fables and Foibles”, Art Monthly, September 1994 Dutkiewicz, Adam; “Edge of the sublime”, Advertiser, 1 December 2003, p. 76. Erickson, Dorothy; “The Festival that could have been”, The Bulletin, March 1994 Farmer, Alison; “Ricardo makes poster splash”, Sunday Times - Entertainment Extra, 19 September 1993 “Festival taps weaver’s art”, The West Australian, 11February 1994 Fiasco (web-page), March 2003 Jenkins, John; “A Dark City Narrative”, Imprint, Vol. 34, No. 4, 1999 Grishin, Sasha; “Multiplicity – collecting Australian prints”, Australian Art Review, Issue 13, March-June 2007, pp. 52-55 Grishin, Sasha; “Profiles in Print - Geoffrey Ricardo”, Craft Arts International, Issue 76, 2009, pp.1-4 Lloyd, Tim; “The elephant man”, The Advertiser (Review section), December 2007 Manzana Arné, Josep; “De L’Ex-Libris a L’Ex-Webis: Ex-Libris a Internet”, Ex-Libris, Associació Catalana D’Exlibristes, Barcelona, No. 27, July-December 2002, p.11 McDonald, John; “Dreams of hope and menace” The Sydney Morning Herald, 18 March 1995 McMillan, Peter; “Darkness visible”, The Age, 11September 1999 Nelson, Robert; “Circuses can be curated, but not cured”, The Age, 18 January 1995 Nelson, Robert; “Dream Weavers”, The Age, June 1995 Nelson, Robert; “Paen To Ricardo”, Imprint, Vol. 29, No.1, April, 1994 Nelson, Robert; “Revealed: Mother Nature’s vulgar past”, The Age, September 6, 2000 Nelson, Robert; “Riddled with hidden meaning”, The Age, September 8, 1999 Quadrant, April, 1995 Quadrant, Jan/Feb, 1995 Quadrant, October, 1995 Quadrant, November, 1994 “Ricardo’s surreal works at gallery”, Times-Spectator, 25 July 2003, p.7 Snell, Ted; “Art”, The Australian, 18 February1994 Snell, Ted; “Visual arts at the Festival of Perth”, Art Monthly, April 1994 Sunday Arts, ABC TV, 6 May 2007 Timms, Peter; “Geoff Ricardo: emerging from darkness”, Art Monthly, Issue 140, June 2001 Wallace, Dr Carmel; “Ways of seeing Australia”, Asian Art News, May/June 2004 BOOKS & CATALOGUES A Dark City Narrative, Australian Galleries, Melbourne, 1999 ARC Biennial Exhibition (Exhibition catalogue), Queensland University of Technology Art Museum, 2007, pp. 78-79 Clabburn, Anna; “The Collaborative Spirit”, Australian Tapestries: Victorian Tapestry Workshop, 1995, p. 37 Fantastic Art, Orange Regional Gallery, NSW, 2001 Field, Caroline; Herd, catalogue essay, Australian Galleries, Sydney, 2007 Grishin, Sasha; Australian Identities in Printmaking, Wagga Wagga Regional Art Gallery, 2000 Grishin, Sasha; Australian Printmaking in the 1990’s, Craftsman House, 1997 Havighurst, Sophie (Illustrations by Geoffrey Ricardo); When Lester lost his cool, The University of Melbourne, 2007 Kolenberg, Hendrik & Ryan, Anne; Australian Prints, Art Gallery of New South Wales, 1998 Lawrence, Michel; Framed; photographs of Australian Artists, 1998 Modern Australian Tapestries, Victorian Tapestry Workshop, 2000 The Rapunzel Suite, Australian Galleries, Melbourne, 2002 Wallace, Dr Carmel (Essay); Surface Tension, Twenty One Contemporary Australian Printmakers, Gallery 101, Melbourne, 2004 Workings of the Mind : Melbourne Prints of the 1960s to the 1990s, Queensland University of Technology Art Museum, Brisbane, 2000 TELEVISION Sunday Arts, ABC TV, 6 May 2007 Inside Art TV, Channel 31, July 2012 Framed limited edition coloured print showing two men in dinosaur masks, leaning over and heading butting each other. Edition is limited to 30, print is number four.On the left, between print and matting: 4/30 "Naturalists" On the right, between print and matting: signed Ricardo ' 92 On front upper right hand corner pale dark red stain on glass On back, left hand corner, red ink finger prints near where it appears that the backing board has been torn to remove the previous tape. On back, both vertical sides has a number of dents towards the outside of it near the tape. art, artwork, print, limited edition, geoffrey, ricardo, fantasy, colour, available, sport

The pennies and half pennies were Australian currency minted prior to the introduction of decimal currency in Australia on 14th February, 1966. The one cent coins post dated the introduction of decimal currency.These coins are retained as examples of pre decimal currency in Australia. It is interesting to note that dating from 1951 to 1983 three monarchs are featured on the obverse.: King George V, King George VI, and Queen Elizabeth 11..The one cent coins are retained as they are no longer in useSeven copper pennies : .1 Obverse profile of King George V1 and text around the perimeter. Small green stain. Reverse profile of a kangaroo, a star and text . Smooth edge ..2 Identical to .1 excepting stain .3 Identical to .2 .4 Obverse profile of Queen Elizabeth 11. and text. Reverse -Profile of a kangaroo, a star and text . .5 Identical to .4 .6 Identical to .4. .7Identical to .4 Five copper half pennies: .8 Obverse Profile of King George V and text around the perimeter. Smooth edge.The coin has a small chip on one edge. Reverse A circle containing text and an outer ring containing text . .9 Identical to .8 .10 Obverse Profile of King George VI and text Reverse Profile of kangaroo,star and text .11 Obverse Profile of Queen Elizabeth 11 Reverse Profile of kangaroo, star and text .12 Obverse identical to .11 Reverse Identical to .11 .13 Obverse identical to .11 Reverse identical to .11 Two copper one cent pieces: .14 Obverse Profile of Queen Elizabeth 11 and text .15 Obverse identical to .14 . .1Obverse GEORGIUS VI D;G;BR OMN; REX FIDEI; DEF. Reverse AUSTRALIA 1951.PENNY .2 Identical to .1 .3 Obverse identical to .1 .2 Reverse AUSTRALIA 1952 PENNY .4 Obverse ELIZABETH.11.DEI.GRATIA.REGINA.F;D;+ Reverse AUSTRALIA 1955 PENNY .5 Obverse identical to .4 Reverse AUSTRALIA 1958 PENNY .6 Identical to .5 .7 Obverse identical to .4 Reverse AUSTRALIA 1962 PENNY .8 Obverse GEORGIUS V D G BRITT OMN: REX; D; IND IMP Reverse ONE HALF PENNY .COMMONWEALTH OF AUSTRALIA The date is obscured by the chip. .9 Obverse identical to .8 Reverse Identical to .8 but the date is 1929 .10 Obverse GEORGIU VI D; G; BR;OMN REX;F;D;IND;IMP Reverse AUSTRALIA HALF PENNY 1948 .11 Obverse ELIZABETH .11. DEI. GRATIA. REGINA + Reverse AUSTRALIA HALF PENNY 1955 .12 Obverse identical to .11 Reverse AUSTRALIA HALF PENNY 1955 .13 Obverse identical to .11 Reverse AUSTRALIA HALF PENNY 1959 .14 Obverse ELIZABETH 11 AUSTRALIA 1985 Reverse Feathered Tail Glider and herbage ,1 .15 Obverse identical to .14 date 1983 Reverse Identical to .14penny, half penny

William Digges Latouche Balden was an 18 year-old cadet on the Samarkund. He and three other crew members: William Archibald Jones, 35 (ship mate), Christopher Ewbank, 19 (third officer) and George P. Worsp, 45 (chief steward) died of oxygen starvation in the ballast tank of the ship on 20 August 1945 while in Geelong. Padre Oliver delivered a service in the St Peter chapel, on the 26th of August 1945, in the 4 men's memory. The window commissionned by his parents, was made by William Aikman (1868-1959), a reknown scottish stained-glass artist, and sent from England. Padre Oliver had met them during a voyage to England. It was unveiled on the 10 April 1949. This is the only imported window and according to Brownwyn Hughes the best quality one from all the opter windows.Arched windows depicting St Nicholas, patron Saint of Ships and Sailors, floating on the sea with a gallon shilling in the background. The small portrait of William Digges La Touche Balden, set within a laurel wreath in the window’s lower section.st peter chapel, flinders street, mission to seafarers, seamen's mission, mission to seamen, st peter, sailors, seamen, stained glass windows, win, memorial chapel, ww2, samarkand, william digges latouche balden, cadets, officers, geelong, deaths, victory ship, merchant navy, st nicholas, galleon, william aikman (1868-1959), christopher ewbank, george p. worsp, william archibald jones

This quilt came to the Running Stitch Group from a visitor at the 'SIO Great Exhibition of Victoria' held at the Museum of Victoria in 1985. This exhibition of historical ephemera about our state included many of the quilts collected by the group. After seeing the value of these utilitarian quilts, many visitors decided to donate their family quilts to the Running Stitch Group. Meg McNab was one such person who identified her step-grandmother as the maker and said the quilt was used in her fathers' family. It eventually came back into her family through her own mother who came to stay in later years. For the journey, the quilt had been used as packing material. Owing to its size, this quilt may have been made for a child. The stained pattern on the back has occurred as a result of rust marks from a wire wove mattress base.This is the front of the quilt. The rod pocket has been applied to the verso. This is the back of the quilt. the rod pocket has been applied to this side.quilting history, running stitch group, running stitch collection, mcnab, meg, quilting - history

Colour slide of school boys working on making toys in a school work room. There are stained glass windows on the right hand side. The toys were part of an arrangement with the Department of Education. Schools would produce the toys, often in wood work classes and they were donated to Legacy and Carry On. The toys were given to Junior Legatees at the Government House Christmas Party. Excess toys were passed to a dozen additional charities. The scheme started in 1949 and by 1962 over 8,200 toys were donated, from 201 schools. The total to that date was over 72,500 toys. It appears to be 1963 as there was space for the tally to be completed. Was with many other slides taken in the 1950s and 1960s. The slides have been photographed to make digital images and moved to archive quality sleeves. In many cases the original images were not well focussed and the digital image is the best available.A record of toys being made and donated to Legacy in the 1960s.Colour slide of school boys near green workbenches, in a white plastic mount and grey mount on the reverse.toys, department of education, toy appeal, school boys

St Peter's Church was established in 1861 in the school house. In 1864 the question of building a church was seriously discussed. A foundation stone for the church was laid on 16 November 1864 by Bendan S. Hassell. The architect was Charles Davenport Cuthbert; the trustees were Somerville Learmonth, W.P. Whitcombe, Robert Wynne and J.B. McQuie. The church building committee consisted of Horace walker, J.S. Carver, John M. Fisher, Robert Williams, Thomas Gibson, John E. Hodgson and W. Lindisay Richardson. The foundation stone of the Soldier's Chapel was laid on 06 April 1917. The beautiful stained glass in the chapel was donated by Mrs W. Tunbridge and H.C. Curwen-Walker, in memory of their sons who were killed during World War One. In 1929 a new three manual organ by London's Hill, Norman and Beard was installed. It was the first in Ballarat with electro-pneumatic action.White soft covered booklet outlining the first 100 years of St Peter's Anglican Church, Ballarat. The book includes information on each of the ministers until 1961, a programme of the Centenary Celebrations, and black and white photographs of the exterior and interior of the church. Images include the Pittard Memorial Windows, the Crocker Memorial Windows and baptistry, and H.W.H. Adeney.st peter's anglican church ballarat, churches, religion, charles d. cuthbert, stained glass, w. tunbridge, h.c. curwen-walker

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. It is bent at the stem and heavily concreted at each end. The encrustation on the handle contains part of a bowl from another spoon, a fragment of a stem, and the green stained impression of another spoon bowl. The outlines of five makers marks are evident but the details are unclear.flagstaff hill maritime museum, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

Tait collection: item 54 of 62 This document gives the details of the Letters of Administration of Michael Maloney who died intestate in 1907. He was aged 64. In this document he was described as a farmer from Dennington, near Warrnambool but a Michael Maloney is listed in 1866 as a butcher and this may be the same person or a member of his family. Michael Maloney left real estate to the value of £160 and personal estate to the value of £38. This was passed over to the son, Michael Maloney, a railway employee of Flemington, Melbourne. The lawyers involved in drawing up this document were O’Mahony and Murray who had legal offices in Warrnambool in the late 19th and early 20th centuries. Con O’Mahony had established his practice in Warrnambool in the 1880s under the name of Klingender, O’Mahony and Murray and by the 20th century this was operating under the name of O’Mahony and Murray. Con O’Mahony died in 1920. This document was then passed down to successive lawyers occupying the legal premises in Kepler Street where it was located in 2014 (the former premises of the legal firm of Mackay Taylor). This document is of some interest as it gives details of the Letters of Administration of Michael Maloney, a farmer in the Dennington area in the late 19th and early 20th centuries. It will be useful for researchers. This is a cream-coloured piece of parchment paper folded in two to make four pages. The front page has ruled black margins and there is handwritten material on two of the pages in brown ink. These two pages also have printed italic script on them in black ink with the handwritten material inserted in the spaces left. A seal of the Supreme Court of Victoria is attached with a green ribbon and there is a red stamp of the Master in Equity of the Supreme Court on the first page. The document is somewhat stained. The document gives the details of the Letters of Administration of Michael Maloney of Dennington who died in 1907. In the Supreme Court of Victoria in the Probate Jurisdiction in the Estate of Michael Maloney, late of Dennington, in the State of Victoria, farmer, deceased, intestate. Letters of Administration.o’mahony and murray,, warrnambool solicitors, michael maloney 1907, warrnambool, michael maloney dennington 1907, michael maloney, tait collection

The original inscription in this Bible is interesting but no information has been found on Mary MacLeod or Hazel O’Moore-Skelly except to note that Eleanor Hazel Cameron, nee O’Moore-Skelly, (1914 -1989) is buried in the Allambie Park Cemetery, Albany. The Bible was given to Berenice Angus by Sister Ingpen of Warrnambool. The accompanying note that indicated that it came from Sister Ingpen is now missing. The later inscriptions indicate that Berenice Angus had this Bible in the early 1950s at her school in Geelong, ‘The Hermitage’. Sister Amy Ingpen (1878- 1965) was an important figure in Warrnambool’s history. She trained as a nurse and was said to be the first Victorian country nurse to qualify for the Midwifery Certificate. She initially assisted Dr Thomas Scott and later Doctor Gerald Baldwin at the ‘Alveston’ Private Hospital (corner Darling and Banyan Streets, Warrnambool). She then took sole control of the private hospital and ran this hospital for a great number of years, providing expert care for midwifery, surgical and medical cases. Berenice Angus (Berry McDade) is the daughter of Dr Roy and Gladys Angus. Dr Angus (1901-1970) came to Warrnambool in 1939 and practised at ‘Birchwood’ in Koroit Street and in later years as an ophthalmologist. This book is of interest because of its connection with Sister Ingpen, a prominent nurse in 20th century Warrnambool and the Angus family of Warrnambool. This is a black soft leather- covered Bible of 1208 pages. The cover extends over the edges of the pages. It has gold lettering on the spine and gold edging on the pages. The inside covers are black. The book has been silk bound but is now partly detached from inside the spine. Some pages are loose and have been mended with glue. Some of the pages have ink staining and the cover is worn with the top and bottom of the spine cover broken and torn. There is an inscription on the black inside cover and one of the first pages and a stamp from the Warrnambool & District Historical Society.‘Mary’ ‘Mary MacLeod with love from Hazel O’Moore-Skelly’ ‘When this you see, Remember me’ ‘Berenice Angus, 1952’ ‘Berenice Angus, The Hermitage, Geelong, 1952 (almost indecipherable) hazel o’moore-skelly, mary macleod, berenice mcdade (angus), dr angus, sister ingpen, history of warrnambool

These dishes were part of a crockery set used in the George Rolfe household at Lyndoch, Warrnambool. George Rolfe (1836-1919) was a Melbourne tea merchant who acquired land at the mouth of the Hopkins River in Warrnambool from the 1880s on as a holiday home. He developed the property over the years, adding a windmill and reservoir, bone and chaff sheds, a stable, jetty and boathouse and an extensive garden. In 1891 he married Mrs Annie Lake and it was his stepdaughter, Florence Lake who built the house, Lyndoch in the 1920s. This building today forms part of an Aged Care Facility. This item is part of the larger Rolfe dinner set as described on Victorian Collections at VC001421 and VC001422These dishes are of importance as they belonged to the George Rolfe family of Lyndoch, Warrnambool. They demonstrate the quality of the household goods used by more affluent families in the second half of the 19th century. These are four china serving dishes or plates which are part of a set of crockery used in the Rolfe Lyndoch household in Warrnambool. The dishes have a circular base with a circular dish resting on the base. The dishes have or had two handles with these handles and the edges of the dishes being gold trimmed. Around the rim of the dishes is a pattern of loops and dots etc of teal and gold. One dish (.1) has no handles, one dish (.4) has one handle only and two dishes are cracked (.3 & .4) . Two dishes are stained, one severely (.2 & .4) ‘Minton’ george rolfe, florence lake

This book has been used by children of the Giles family at the Wangoom State School. William and Allan Giles were members of the Giles family that lived on the Allansford Road. Wangoom School, no. 645 was opened in 1865 on the Warrnambool/Wangoom Road as Wangoom Common School. It became Wangoom State School after 1872 and is now closed. This book is of interest as an example of the reading books used by children in Victoria late in the 19th century. The book contains stories about England and the British Empire but has no Australian content. The book is also of interest as it was used by children of the Giles family, early settlers in the Warrnambool district. This is a hard cover book of 190 pages. The cover, once blue but now very faded, had embossed lettering and ornamentation on the front cover but these are now almost indecipherable. The book has come apart from the spine and has been re-stitched with white thread. There is much scribble on the first and last pages with the decipherable inscriptions being handwritten in black ink and pencil. There is a blue stamp of the Warrnambool and District Historical Society on the first page. The text has many black and white illustrations with some coloured in by the users. Many of the text pages are torn, stained and scribbled on. ‘William E. Giles, State (ed. word missing) Wangoom’ ‘Allan Giles’ giles family, wangoom state school, history of warrnambool

This book was given as a school prize to Walter Wright by the Wangoom School in 1873. The name ‘Wangoon’ is on the printed book plate – is this a misprint or an alternative spelling of ‘Wangoom’? Wangoom State School, No. 645, on the Warrnambool/Wangoom Road was opened in 1865 as a Common School. The school is now closed. The Hon. William Bayles, a Melbourne businessman with property near Macarthur, first became a member of the Legislative Council for Villiers and Heytesbury in 1864 and continued until 1880. He was a prominent and popular politician in Warrnambool, regularly giving prizes to pupils of schools in his electorate and in 1872 he offered a £10 prize for the best student in the district. No specific information has been found on Walter Wright or any family named Wright residing in the Wangoom area. There was a piano tuner named W. Wright in the Warrnambool area in the 1870s. Was this Walter’s father? This book is of interest because of the connection with Wangoom School, the Hon. William Bayles and Walter Wright. More interest will be created if information comes to light on water Wright. This is a hard cover book of 333 pages plus 32 pages of advertisements for books published by Henry S. King and Co. The cover is dark red with an ornamental pattern in black on the front cover and lettering in gold on the front cover and spine. The book has three full page black and white illustrations with the illustration next to the first page missing. There is a printed book plate pasted onto the inside of the front cover with blue printing and ornamentation and a handwritten name and date. The cover is partly detached from the binding and the cover and pages are somewhat stained and the cover is frayed. ‘State School, No. 645 Wangoon (sic), Class 3rd, Prize Presented to Walter Wright by the Hon. William Bayles, M.P. for Villiers and Heytesbury, Christmas 1873’. wangoom state school, walter wright

This post card has been sent from a military camp in England by Private George Hall to his niece Myra. Private Hall was a farmer from Purnim who enlisted in August 1915 (14th Battalion, 15 Reinforcement Group). He was aged 30 at the time. He left Australia in 1916 and transferred to 3 Field Artillery Brigade. He returned to Australia in 1919. The card gives no details of Private Hall’s activities at the time but indicates that he had sent several post cards to members of his family. This post card is of interest as an example of the many beautiful embroidered post cards that were sent by Australian soldiers to family members during World War One. The cards were usually made in France and sent from there but in this case was sent from England. The card is also of interest because it is a personal message sent from a local soldier from Purnim during World War One This is a post card from World War One. It has a written message on the back from Private George Hall to his niece Myra and it has a piece of embroidery on the front of the card. This depicts a black cat with the British colours of red, white and blue around its collar and other ornaments – a white horseshoe, a Union Jack, a white pedestal and red, green and white greenery. The words ‘Good Luck’ are stitched in yellow. The stitching is on white silk which is somewhat stained. There is a crimped border in lightweight cardboard around the embroidery. The message on the back is written in pencil.‘Dear Myra, Just this P.C. to let you see I have not forgotten you. Hope you are quite well. I have sent you & Dorry a lot of P. cards from England. I hope you get them all right. Your poor old Uncle George, 4821, 40 Bat. Worgret Camp, Wareham, Dorset. Wishing you all a very Merry Xmas & Happy New Year XXXX Nov. 24th -11-16.private george hall, world war one, world war one embroidered postcards, history of warrnambool

In the early 20th century there were many small machines and instruments developed to use as home cures. These included massage and vibratory instruments and those taking advantage of the growing use of electric currents in the treatment of nervous and mental health issues. This machine was used to produce a electric current to use on the human body to alleviate ailments that included nervous conditions, neuralgia, lumbago, back ache, muscle soreness and even toothache. Developments in allied health treatment saw the waning of the popularity of these kinds of medical aids by the mid 20th century.This machine is of great interest as an example of the items used by people in the late 19th and early 20th century as home cures for all sorts of ailments that afflicted people at the time.This is rectangular wooden box with a lid connected with metal hinges. The inside of the lid has a paper insert with printed material on it. The box has a metal mechanism inside and this includes a metal magnet, a pulley with a rubber belt and two round metal drums covered in dark blue felt. On the outside of the box is a metal handle that is connected to the mechanism inside. There is a metal closing catch on the outside of the box. There are also two wires on the outside of the box with one of these connected to the inside mechanism. The wires have hollow brass cylinders attached to the ends. The box is heavily stained and scuffed.‘Magneto Electric Machine for Nervous & Other Diseases’allied health in early 20th century, warrnambool, history of warrnambool

This item is a boxed set of teaspoons from the Rodd Silverware Company. G. & E. Rodd Pty Ltd was founded in Melbourne in 1919 and by the 1930s it was the leading manufacturing jewellery business in Australia. In 1948 the business was taken over by Max Rodd, the son of one of the founders and by that time it was known mostly for its household silverware. Rodd products were very popular wedding presents in the mid 20th century. This item has no known local significance but is retained as an excellent example of the Rodd Silverware that was found in so many households in Australia in the early to mid 20th century. It will be useful for display.This is a black leather-bound box with a gilt rim around the edge of the lid. The lid is attached to the box by two metal clips. One of these is broken. The box has a gilt metal clasp for closing the box. The box is lined inside with purple satin material and contains five electro plated nickel silver teaspoons. There should be six in the set but one spoon is missing. The spoons are held in grooves cut into a purple block across the middle of the inside of the box (perhaps made of wood). The box is somewhat stained and the leather is scuffed in places. The teaspoons are in excellent condition.Back of spoons: ‘Rodd E.P.N.S. A1’ rodd silverware, household items

This man’s dress box contains accessories that a man would use, perhaps in a formal situation – bow ties,buttoning studs and detachable collars. The contents of the box may not be what was originally in the box. Bow ties and studs are still used on occasions but detachable collars are no longer in vogue because wash and wear shirts are freely available. Both of the companies which made the detachable collars, Pelaco and Cremorne, were based in Richmond in Melbourne. The Warrnambool jewellery business of M. Salamy and Son, has the known dates, 1912 to 1938. There were two Salamy shops, one in Timor Street, opposite the Post Office and one at 179 Liebig Street. This box and contents are retained because they are reminders of accessories men used in the past, especially for formal occasions. Also, one of the items came from the well-known Warrnmbool jewellery business of M. Salamy and Son..1 This is a circular-shaped leather box with a lid attached by stitching and a strap and a metal buckle for closing the box. Inside the box is a blue cardboard lining. The leather is scuffed. .2 & .3 These are two black cloth bow ties with metal clips at the back. The ties are housed in a blue wooden box. .4 These are seven elasticised bands for holding back shirt sleeves. Two of these are covered with red and blue cloth and five are made of silver-coloured metal .5 & .6 These are two white detachable collars. They are somewhat stained. .7 These are four metal studs with white inserts. .2 The box is marked ‘M.Salamy & Son, Jewellers’ .5 ‘Pelaco Best Quality Made in Australia’ .6 ‘Cremorne Collar Co. Melbourne’ men’s accessories, history of warrnambool, detachable vintage collars, winged detachable collars

William Melrose volunteered as an oarsman in the Portland Lifeboat on the second and successfil attempt at rescue when he rowed manfully through the breakers. He was awarded a Silver Medal and [pound mark]12.10.0.Paper certificate mounted under glass and framed. Frame is carved wood, stained brown. Top corner is a carved scotch thistle, bottom corner has carved anchors. Centre of each side has a cavity for the medals. At the bottom centre is the Admella Relief and Reward Fund Draft certificate of reward to William Melrose Seaman 'Lady Bird' Melbourne Nov 12th 1859. Photograph of William Melrose in uniform with his two medals pinned to his jacket. A coat of arms is carved at the top centre with the motto "PER-MARE-PER-TERRAS".Front: Admella Relief and Reward Fund Draft certificate of reward to William Melrose Seaman 'Lady Bird' Melbourne Nov 12th 1859. Services rendered - volunteered as an oarsman in the Portland Lifeboat on the second and successfil attempt at rescue when he rowed manfully through the breakers. He was awarded a Silver Medal and [pound mark]12.10.0. Back: (no inscriptions)admella, shipwreck, portland lifeboat, rescue, reward

Khaki Drill material in generally very good condition. The jacket is unlined. Pockets on right and left breasts have curved flaps fastened by a single central button. Lower left and right pockets have large 'straight' flaps fastened with a single button. All pockets are sewn onto the outside of the jacket. Loose ends from stitching on button holes and pockets indicates little use. Some staining on collar and spots on the outside of the jacket may be from storage. Belt is missing its buckle which would have been a separate interchangeable item.

This photograph records the interior of St Nicholas Seamen's Church at 139 Nicholson Street, Williamstown, Victoria, which was purchased and furnished around 1943. The furniture and furnishings are now part of the St Nicholas Seamen's Church collection. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served the world's seafarers since 1856 in Great Britain. It symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the orgainsation began in Williamstown in 1857. It was a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This item is significant through its association with the St Nicholas' Mission to Seamen Church in Williamstown, Melbourne, established in 1857.Photograph of St Nicholas Seamen's Church, Williamstown. Sepia photograph. The photograph shows the inside of the Chapel of Mission to Seamen, including organ, pews and other furniture and furnishings. There is a circular stained glass window high on the back wall depicting a sailor at the helm of a ship and a man standing behind him and pointing the way - "Christ Showing The Helmsman The Way". A Sanctuary Light is suspended from the ceiling. The Sanctuary chars are visible. This shows the St Nicholas Seamen's Church in Williamstown, the furnishings and furniture of which is now part of the St Nicholas Seamen's Church Collection’.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, st nicholas mission to seamen's church williamstown, mission to seamen williamstown, mission to seamen victoria, st nicholas mission to seamen, chapel window, christ showing the helmsman the way, stained glass window, st nicholas seamen's church, religion, religious service, sailor's rest, ladies harbour light guild

The brass letter “A” is from the starboard bow of the FALLS OF HALLADALE, a 2085-ton iron-hulled and four-masted sailing ship that was wrecked near Peterborough on 14 November 1908. Two companion pieces, the letters “S” and “D”, are also in the Flagstaff Hill Maritime Village collection of shipwreck artefacts (as registered numbers 748 and 6596). The ship’s name originally appeared in these impressively large brass letters across the stern and both port and starboard bows of the vessel. The FALLS OF HALLADALE was built in 1886 by Russell & Co at their Greenock shipyards on the River Clyde. She was the seventh of nine similar cargo carriers produced for the owners of the Falls Line, Wright, Breakenridge & Co of Glasgow. All nine ships were named after waterfalls in Scotland. First was the FALLS OF CLYDE in 1878, then the FALLS OF BRUAR in 1879 (lost in 1887), the FALLS OF DEE in 1882 (sunk in 1917), the FALLS OF AFTON in 1882, the FALLS OF FOYERS in 1883 (disappeared in 1898), the FALLS OF EARN in 1884 (wrecked in 1892), the FALLS OF HALLADALE in 1886 (wrecked in 1908), the FALLS OF GARRY in 1886 (wrecked in 1911), and the last of the fleet, the FALLS OF ETTRICK (lost in 1906). The FALLS OF CLYDE is still afloat as an exhibit at the Hawaii Maritime Center in Honolulu. Russell & Co delivered the owners full-bottomed, economical ships of 1800 to 2000 tons, practically designed to minimise loss of speed while increasing seaworthiness and carrying capacity. The sturdily constructed FALLS OF HALLADALE had iron masts and wire rigging, allowing her to maintain full sail even in gale conditions, and square “warehouse-type” bilges to accommodate maximum bulk cargo on her long-haul voyages. This class of ship remained commercially competitive into the twentieth century despite the advantages of coal-fired steamships. When the 22 years old FALLS OF HALLADALE finally foundered on Victoria’s Shipwreck Coast in 1908, the Melbourne Court of Marine Inquiry held it was entirely due to Captain D.W. Thomson’s navigational error, rather than any technical failure of the Clyde-built ship. The shipwreck of the FALLS OF HALLADALE is of state significance — Victorian Heritage Register No. S255. The Falls of Halladale shipwreck is listed on the Victorian Heritage Register (No. S255). She was one of the last ships to sail the Trade Routes. She is one of the first vessels to have fore and aft lifting bridges. She is an example of the remains of an International Cargo Ship and also represents aspects of Victoria’s shipping industry. The wreck is protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act (1976).A brass letter “A”, from the shipwreck FALLS OF HALLADALE, raised along the central axis to form three dimensional effect, in unrestored and fair condition. Of dull grey-green metal, bent and with irregularly worn edges, it has been subjected to amateur cleaning on the front face, with some remaining greenish copper oxidation and surface pitting. The rear face is uncleaned with a layer of sedimentary concretion, orange-red staining from the iron hull, and green copper oxidisation. Three sediment-filled bolt collars on the rear face are part of the original casting.warrnambool, shipwreck coast, flagstaff hill, shipwrecked coast, flagstaff hill maritime village, flagstaff hill maritime museum, shipwreck artefact, maritime museum, great ocean road, brass lettering, falls of halladale, 1908 shipwreck, russell & co., ship's nameplate, letter, letter a

This attractively patinated artefact was raised from the wreck site of the CHILDREN (wrecked January 1839, recovered February 1974) and was quite reasonably catalogued as a portion of a ships porthole. This identification is unlikely however, because the CHILDREN was built at Liverpool in 1824, and round portholes were not in common use until the 1850s. The catalogue identification has since been changed to "Ship's Fitting" Prior to the appearance of round portholes in the middle of the nineteenth century, the function of introducing light to lower decks was performed by square half-glassed ‘ports’ in the side of the hull (known as a port-sash) , or ground-glass ‘bullseyes’ inserted in the deck (scuttles). In historical terms, ports were always square, cut into the timber originally to allow the firing of a ships guns, and were closed in weather by a tight fitting square hatch. Flagstaff Hill Shipwreck Museum has three portholes on display that illustrate the gradual development and adoption of circular brass portholes. First in sequence is a small 12.5cm diameter window (with a deep frame for thick wooden hulls) from the 1855 wreck of SCHOMBERG. The second and third are larger 25cm diameter windows (with a shallower frame for thinner iron hulls) from the 1892 wreck of the NEWFIELD and the 1908 wreck of the FALLS OF HALLADALE . Once the apparently obvious use of the brass object is discounted, an accurate and reliable alternative classification is difficult to specify. One artefact register notes it was ‘found in about the centre of the wreck site’. This would mitigate against the possibilities of (1) ‘horseshoe frame’ joining pieces of the keel and hull at the bow of the vessel, or (2) ‘deckseat’ for a binnacle at the stern. It may support the idea of a ‘head frame’ on a cooped companionway or a ‘deckseat’ for a mainmast pump. But this is only speculation. The actual identification is not known. The wreck of the CHILDREN is of State significance - Victorian Heritage Register S116Ship's fitting, of heavy gauge brass circle, previously classified as section of ship's fitting, which was raised from the wreck of the Children. One end is broken off at an original bolt hole and the other is severed or cut at an acute angle from the inner rim. The artefact is 6cm across and 1cm deep, indicating strength and function as a substantial and finished item of moulded metal. The upper face bears sedimentary accretion stained red/brown. The rear face has been gouged by hard or corrosive materials and bears brilliant blue/green oxidisation.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, the children, brass flange, brass rim, shop fitting

This is a print of a Supermarine Spitfire Mk1, 19th SQN, Royal Air Force, RAF Duxford -Summer 1940. (Refer https://ww2-weapons.com/supermarine-spitfire-mk-i-2/ ) ( This Print was kindly donated by the Family of the Late Alan Leslie Menlove British Soldier ) The print has description in writing regarding - Propeller, Merlin Engine, Spitfire Genesis, Armour Protection, Stopping the Luftwaffe, Spitfire P9386, No. 19 Sqn, Subsequent Spitfires, Armament, Carburettor, Main Undercarriage, Tactics, Camouflage, Manoeuvrability Wooden dark stain frame, glass protection over print. . Refer Physical description and photographs.

Doug ‘Pudden’ Wade Born: 16/10/1941 From: Horsham Height: 188cm Weight: 92kg Natural kicking foot: Right Guernsey number: 23 First senior match for Geelong: Round 1, 1961 v Collingwood at Kardinia Park Regarded by many as Geelong’s greatest ever full-forward, his greatest attributes were determination, fast leading, strong marking and prodigious kicking. Often he was able to score goals with 70-metre torpedo punts. Occasionally he scored from drop-kicks. When in top form he was a most inspiring player. If opponents tried to upset his game with niggling tactics he displayed a fiery aspect of his nature, which kept spectators ‘interested’. He played the forward role like an aggressive defender. Probably his most outstanding performance was a 13-goal effort at the Lake Oval in heavy conditions in 1967. A severe knee injury suffered in an interstate match in 1964 restricted his performances for about two seasons. In his time at Geelong he seemed to perform better as the seasons rolled on. He played in North Melb’s Premiership-winning team in 1975, twelve years after the same achievement with the Cats. Total Brownlow Medal votes for Geelong: 34 Premiership team selection: 1963 Night/Pre-Season Premiership team selection: 1961 Captain: 22 matches (1971-72) Club Best & Fairest: 1969 Fifth in club B&F count: 1961 Sixth in club B&F count: 1962 (equal), 1967, 1971 Seventh in club B&F count: 1964, 1972 Tenth in club B&F count: 1966, 1968 Club leading goalscorer: 1961 (51 gls), 1962 (68 gls), 1963 (48 gls), 1964 (41 gls), 1966 (52 gls), 1967 (96 gls), 1968 (64 gls), 1969 (127 gls), 1970 (74 gls), 1971 (94 gls), 1972 (90 gls) Competition leading goalscorer: 1962, 1967, 1969 Instances of seven goals or more in a match for Geelong: 35 Australian Football Hall of Fame inductee (2000) GFC Team of the 20th Century selection (full forward) GFC Hall of Fame inductee (1996) GFC Hall of Fame Legend GFC Life Membership (1968) Career span for Geelong: 1961-72 Total matches for Geelong: Premiership 208, Night/Pre-Season Series 4, Interstate 7 Total goals for Geelong: Premiership 834, Night/Pre-Season Series 11, Interstate 31 Finals matches for Geelong: 12 Finals goals for Geelong: 46 Last senior match for Geelong: Round 22, 1972 v North Melb at Kardinia Park Transferred to North Melb in 1973 Wayne Closter Born: 26/02/1945 From: Darley Height: 180cm Weight: 81kg Natural kicking foot: Right Guernsey number: 1 First senior match: Round 1, 1964 v Melbourne at the MCG In his first season as a listed player, he was selected in the Reserve Grade 1963 Premiership team. A favorable impression of his ability was created in his debut. He was opposed by Melbourne's Frank 'Bluey' Adams on a wing and out-pointed him convincingly. Initially he played many fine matches as a wingman. Later he moved into the centre where his good form continued. Features of his play were strong marking, good control and excellent kicking. He became one of the greatest ever exponents of kicking ambidextrously, and it became difficult to judge which was his natural kicking foot. National Service training obligations during a number of seasons deprived him of the chance of playing 200 matches and to represent Victoria, however the AFL acknowledged his contribution by inducting him into the 200 club during 2007. From 1977 until 1979 he coached the Reserves before spending 10 seasons as a 3GL/K-Rock football commentator. Total Brownlow Medal votes: 29 Captain: 1 match (Round 9, 1974 v South Melb at Kardinia Park) Fourth in club B&F count: 1967, 1971 (equal) Fifth in club B&F count: 1966 Sixth in club B&F count: 1964, 1968, 1972 Eighth in club B&F count: 1970, 1974 Ninth in club B&F count: 1973 GFC Hall of Fame inductee (2002) GFC Life Membership (1971) Career span: 1964-75 Total matches: Premiership 191, Night/Pre-Season Series 2 Total goals: Premiership 72, Night/Pre-Season Series 0 Finals matches: 8 Finals goals: 1 Last senior match: Round 22, 1975 v Fitzroy at Waverley Park Information provided by Col Hutchinson Geelong Cats HistorianRed, slightly deflated Ross Faulkner football. In black on one side of the white laces states - MATCH/Native Brand/ ROSS FAULKNER - with a symbol of figure, and is repeated on the other side states - the football is on a small wooden stand stained dark brown with the text engraved donated by Ross Faulkner - The Football a large player signature on one side in white texta it is believed to be Wayne Closter. There is a signature in pen above the text native on one side of the football by Doug Wade. The football has blue and white ribbons threaded through the laces.Signature Doug Wade and Wayne Closter doug wade, wayne closter, ross faulkner, football, gfc, geelong football club, vietnam war

Used by conductors or conductors to retain and sell tickets from. Demonstrates the method of dispensing tickets by conductors, how the tickets could be arranged. Yields information about the style and printing of tickets used in Ballarat and Bendigo tramways and how they were presented.Sheet of leather, approx 2mm thick, stained brown with four pockets formed on each side with another sheet of leather, stitched on all sides to form pockets to hold eight blocks of tickets. Stitching is a dark brown colour cotton. Has seven blocks of tickets, possibly of Bendigo origin, each with 200 tickets. 4c - red - C551400 5c - orange - City Section - A391000 5c - yellow - B796200 7c - City Section - purple - A183800 10c - black - C468800 13c - black - B602000 18c - brown - A482200 tramways, trams, tickets, conductors, sec, ticket wallet

A faded khaki green softcover reader or textbook with black lettering on the front cover at the top for the title The Modern World Geographies, Europe, Africa and South America Grade VII or Form F. A black and white illustration of a steamship and four other pictures are printed on the damaged front cover. Throughout are black and white charts, maps, diagrams, photographs and illustrations. In red ink writing inside on the front endpaper is Lance Sebire. Dog eared pages with a damaged worn cover and stains. Lance Sebire is written again on the back cover.226p.non-fictionThe Modern World Geographies: Europe, Africa and South America Grade VII or Form F is part of a series of six little books of geographical information for children between the ages of eight and fourteen written by very experienced teachers and educationalists. They are readers rather than textbooks with the object of stimulating interest and to leave to the teacher the filling in of the course by appropriate lessons.children's books, readers, geography, textbooks

The handwriting of the Skilbeck inscription suggests that it is of 19th century origin so the first owner of the book may have been Richard Skilbeck, a pioneer of the Koroit district who was at Yangery Grange farm from 1866 to 1916. The name on the printed label would be that of a Skilbeck descendant. This book is of antiquarian interest and is also kept because of its connection to the Skilbeck families from the Koroit area This is a hard cover book of 357 pages. It has a green cover with black and gold decorative panels and scrolls and gold lettering. The cover is somewhat stained and the spine is a little faded. The book has 33 chapters and advertisements at the back of the book for other books by the same author. There are decorative borders and scrolls at the beginning and end of each chapter. There are several black and white full-page illustrations, all protected by tissue paper. The inscription is handwritten in black ink and a piece of paper containing a printed name and address is affixed to the first page with adhesive tape. This label appears to come from an address on a parcel or newspaper. ‘Skilbeck Yangery’ ‘18 Mr Skilbeck Southern Cross Store Warrnambool’ richard skilbeck, yangery grange, yet not i

According to the front page this autograph book belonged to Patricia Spencer of Spencer Street, Dartmoor. Dartmoor is a small settlement on the Princes Highway between Heywood and the South Australian border. It was first settled in the late 1850s and the main industry is the processing of timber from the surrounding pine plantations. Patricia Spencer attended Warrnambool High School in the late1930s and this album contains a number of entries from Warrnambool High School in 1938. It also has a page of eleven signatures of the Head Master, George Langley and other teachers from Warrnambool High School. There are also entries from people from Mortlake and Panmure and other entries with the person’s address not indicated. Autograph books such as this one were commonly owned by young people in the 19th and 20th centuries (up to about 1950) and were very popular with young girls.This album, although incomplete and tattered, is of interest because it is a good example of the social custom, more popular a couple of generations back than it is today, of young people owning and obtaining signatures and verses from their friends and acquaintances. It is also important because it contains signatures of Warrnambool High School teachers in 1938 and there are other entries of interest. This is a small autograph album that was originally bound with a cardboard cover with red leather backing but now has no front cover and only part of the back cover. The pages are all loose and the front section (buff-coloured) has a cardboard piece with felt padding. The pages are coloured in a variety of pastel tones and there are many handwritten entries of verses and signatures, with several from the ‘B’ Form, 1938, of ‘W.H.S. (Warrnambool High School). The album appears to have belonged to Patricia Spencer from Dartmoor. Some of the pages are torn and stained. At the back there are remnants of a sketch of an Asian scene and a letter to ‘Pat’ for her birthday. ‘Autographs’ ‘Patricia Spencer, Spencer Street, Dartmoor’ autograph albums, patricia spencer, warrnambool

This box contains typewriter equipment for a Remington typewriter. The Remington company was founded in U.S.A. and it produced the first typewriter for commercial use in 1873. In 1886 the Remington family business was sold but the name was retained and typewriters with the Remington Rand brand name were sold from 1927 on. Typewriters have now been replaced by computers. This box of equipment belonged to Dr Horace Holmes who would have used a typewriter in his medical practice in Warrnambool in the first half of the 20th century and perhaps would also have used a typewriter in the activities of the many community groups with which he was associated. Horace Iles Holmes (1877-1959) was born and educated in Tasmania and completed a medical degree at the University of Melbourne. He commenced a practice at Warrnambool in 1906 and was the honorary Medical Officer at the Warrnambool Hospital and Warrnambool’s Health Officer. His practice was at ‘Ierne’, at the corner of Spence and Kepler Streets. He was an early member of the Royal Australian College of Surgeons and was prominent in community affairs (foundation President of the Warrnambool Rotary Club, a member of the Warrnambool Masonic Lodge for over 50 years, a Warrnambool Hospital Committee member, a long-term Trustee of the Warrnambool Methodist Church and President of the Lyndoch Hostel for the Aged Committee. Dr Holmes also had agricultural interests and enjoyed fishing, bowls and golf. This box of typewriter equipment is of interest as an item in the collection of Horace Iles Holmes, a doctor who was prominently associated with the professional and community life of Warrnambool for over 50 years. This is a rectangular-shaped black cardboard box with the name ‘Remington’ on it. It is heavily stained inside. The box contains nine objects, most identified as relevant to typewriter maintenance and cleaning:- a paint brush with a wooden handle and bristles – perhaps used for dusting the typewriter keys, two glass bottles which once contained typewriter oil but which are now empty, a red and black typewriter ribbon in a metal container, another metal container with a plunge mechanism for ejecting oil, a metal stick with a sharp end, possibly for cleaning the typewriter keys and three other unidentified small metal objects.Remingtonremington, typewriters, office equipment, dr horace holmes, warrnambool, warrnambool history, typewriter accessories

This small film development system was developed by Kodak for the amateur photographer. It was a small portable system which made the development of film more accessible to the enthusiast.This is an interesting item and quite innovative and as such has historic and scientific and research significance.A stained wooden rectangular box with dovetailed corners and a lid which is loose and sits inside a ridge.There are two holes drilled in both the longer sides of the box. The lid has a smaller raised section with Kodak Film Tank in red and black text a paper chart is stuck to the underpart of the lid..The interior of the box is painted black and there is a metal cylindrical tin with a lid and inner section.There is a spool attached to one end of the box.There are four loose items, two long prongs with black plastic knobs, a similar length implement with a straight shaft and hooked section on the end and a metal spool.Kodak film Tank on the lid of the box and the lid of the cylinder. The bottom of the cylinder has stamped around the outer rim, " manufactured by Eastman Kodak Co, Rochester NY. Pat Aug 26. 02 May 23 05 May 21 07.Sep 17 07. On the under part of the lid stamped into the timber, ' by Eastman Kodak Co, Rochester NY.kodak film tank, 1907 kodak film tank, warrnambool history