One of five group and individual portraits of the Noble family of Kew, two in the rear garden of what is presumed to be ‘Charnwood’, in Station Street, Coburg. The photographs date from the period c.1890-1914. One of the larger framed photographs is a portrait of the entire family group, while another is of two of the children, Frederick and Winifred. The father, Frederick William Noble was a businessman, and, at one period Secretary of the Victorian Creamery & Butter Company in South Melbourne. Later he was to manage J. Bartram & Co., Ice & Cold Storage Department in Flinders Lane. By 1906, the Noble family had moved to Kew, living for almost 20 years at 100 Walpole Street before relocating to 26 Molesworth Street in the mid 1920s. The five photographs in the collection reveal details of family life and social values as expressed through attire. The family is formally costumed in a manner indicative of their social status. Mrs Noble, in one of the large framed portraits, is dressed in a sombre manner in a long, dark-coloured long-sleeved, high-necked gown. It is difficult to know whether she is dressed in mourning wear in this black and white photograph. It was not uncommon for a woman to regularly wear mourning attire due to the high mortality rate in the Victorian era. This situation was compounded for women due to the size of extended families. A woman might rarely be out of mourning due to the death of a parent, a sibling, a husband, a child or a near relative. The portraits of the Noble family children, particularly Frederick and Winifred, show the elaborateness of formal attire worn by the children of wealthy families during the late Victorian era. Winifred is dressed in a long cotton dress and a broad-rimmed hat; both liberally covered in lace. Winifred and Frederick’s lace collars extend to their shoulders. Winifred’s diaries, covering the period 1908-50, are now in the collection of the State Library of Victoria. The most detailed of the diaries is from 1914, just before the outbreak of World War 1, and includes ‘Accounts of my Dancing Evenings - Season 1914’. The diaries were the inspiration for an art exhibition by Jim Pavlidis in 2014. One of the family’s two sons, Frederick, was to work at The Age newspaper for 50 years. His obituary records that “He was regarded as the epitome of accuracy and a fount of knowledge on many subjects, but especially cricket, the Royal Melbourne Show and Gilbert & Sullivan”. With Robert Morgan he compiled Speed the Plough, a history of the Royal Agricultural Society of Victoria and its role in developing agriculture in Victoria.Framed photographic half portrait of Winifred Noble in the original carved wooden frame. Winifred lived at 'Avalon' in Molesworth Street, Kew.Handwritten label on rear "Winifred Noble c 1910-12"noble family, winifred noble, photographic portrait, kew

Written during the 1960s when surfing was burgeoning across Australia’s coast and Phillip Island surf beaches had become extremely popular, few management strategies were in place to control interaction of the public with the delicate flora and fauna of the coastal environments. There were few good access tracks, car parks, bins, toilets etc at coastal/surfing hotspots around the Phillip Island coast. A number of management issues occurred with the influx of surfers. These included dune erosion caused by surfers climbing dunes to see the surf before going on the beach; informal parking on wildlife habitat; numerous access paths from wherever cars were parked down to the beach cutting through habitat; illegal camping on foreshores; illegal lighting of fires on beach and in dunes; surfers’ dogs let out of the car while surfers were out on the water. The dogs were uncontrolled. Certainly some surfers behaved responsibly, as is almost invariably the case these days. However, in that era of this article few people understood the delicate nature of the coastal environment and that it need to be protected through public education, infrastructure and enforcement of regulations. As now, most rural Fire services were run by dedicated volunteers who faced many challenges in their roles as Country Fire Authority firefighters. However, it was not uncommon for visitors and locals to also assist with fire-fighting efforts.The article is significant in containing quotes from both sides of the discussion who were directly involved in coastal fire incidents on Phillip Island in the 1960s. It also indicates the large number of surfers visiting Phillip Island beaches, the volunteer nature of the firefighting service and the extra challenges they faced on Phillip Island as a visitor destination. The anonymous university student surfer who is quoted, also describes possible causes of the fires, methods he and his fellow surfers used to extinguish the fires and raise the alarm, and the way they assisted the volunteer firefighters . The reference to him breaking into one of the Summerland housing estate holiday houses is also significant because that housing estate was purchased over 2 decades by successive Victorian governments to remove management issues caused to the wildlife habitat on Summerland Peninsula.Photocopy of newspaper cuttings including 2 related articles. Five columns of black text on white paper with one poorly reproduced photo bottom rightphillip island, cat bay, country fire authority, artie murdoch, alf towns, frank dixon, barry thompson, newhaven-san remo rural fire brigade, penguin parade, cowrie beach, surfers, coastal fires

Diana Jones (1939-2009) was President of the Association for the Blind from 1985 until 1992. In her 8 years as President a great deal was accomplished. New centres were opened or extended throughout Victoria and the Metropolitan area, volunteer services expanded and the Vision Resource Centre at Kooyong was built into which 3RPH radio was relocated. A Vision Information hotline, audiology services and the National Centre for Ageing and Sensory Loss were established, the Braille and Talking Book libraries was incorporated into the Association and the Charlie Bradley Cricket Pavilion opened at Kooyong. In 1990 Diana Jones became a member of the first Board of Directors of the newly incorporated Association for the Blind Ltd which ushered in a new era, requiring strict observance of financial and accounting methods in order to ensure continued Government funding. Mrs Jones was highly regarded by clients, volunteers and staff as a capable hard-working leader. Her services to the Association and over many years to the wider community, were recognised in her appointment as a Member of the Order of Australia in the 1993 Queen's Birthday Honours. In these images she is standing outside Brighton (?) wearing a pleated skirt, a white top with banding on the short sleeve edges, across the neckline and mid-chest with a zig zag pattern between the lines. She has on thick hoop earrings and a long chain with a pendant possibly shaped like a genie bottle.Portrait of Diana Jones in various sizesdiana jones, association for the blind

Set of 7 The Met travel cards, large size, printed on card, weekly tickets, student cards and annual tickets for the 1987 to 1989 era. Availability dates printed on ticket. Conditions of use printed on rear. .1 - 1 Month (monthly), Anywhere Travelcard for March 1985, required a photocard to be shown, number 2029, priced at $55.00 - has special security printing on front, has been folded in half. .2 - Inner Travelcard - used for 25/8, number 1024, printed on yellow card - has the MTA concession market sales office stamp on the rear. .3 - Anywhere weekly Travelcard - stamped for 4 March 1987, No. 603365 - with Flinders St stamp on rear. .4 - Zone 1 travel card - $2, used 16/2 - No. Ab 13199. .5 - Weekly Zone 1 travel card - not used, has been removed from a pad with original part remaining, No. 738867 - has the West Footscray 24 stamp on rear. .6 - Zone 1 and 2 Travelcard, used 16/3, $2.60, No. Ba69734 .7 - Weekly Zone 1 & 2 travel card - not used, has been removed from a pad with original part remaining, No. 90054.trams, tramways, tickets, the met, ptc, travel cards

Three page typed report titled ' Notes on diagram showing pitch lines, Bendigo'. Longitudinal sections along the lines of reefs or anticlines within the 8 mile block at Bendigo are shown in a diagram' (diagram not included with notes) Mines and reef lines mentioned in the report are : New Chum line, New Chum Railway mine, Catherine United mine, Hercules and Energetic mine, Garden Gully, Hustlers and Redan, Sheepshead Reef, Sea Mine, Garden Gully, Miller's line of reef and Bendigo Development Mine. The 'old stacks' or chimneys, on Bendigo are described. 'Among the earliest of the stacks built at Bendigo in connexion with Quartz crushing plant, are the two figured in this Annual report No 1 was situate in Sailor's Gully but was demolished about three years ago. This, if not the first, must have been one of the first built, for it had a stone inserted on which chiselled the date 1854. It was built altogether of rough masonry. The other, No. 2, is still standing at the Sheepshead line and was apparently of later date, the upper portion being of brick. They are intersting landmarks of an era that is rapidly passing.' Map attached to report showing location of stacks. Stack at Sailors Gully was near the corner of Murchison Street and Lester Street. The stack at Sheepshead ( Deborah Triangle area) was near the intersection of Belle Vue Road and Adam Street.bendigo, mining, pitch lines bendigo

Book - spiral wire bound , clear plastic cover, green title sheet and card back, approx. 110 pages, black and white presentation giving examples of tram tickets along with notes on each system for Melbourne, Country Victoria, Queensland, South Australia, Western Australia, Tasmania, New Zealand (11 systems) and Tourist tramways. Has a table of contents, introduction, an overview of the operators, list of Urban Transport Milestones During the Tramway Era for NZ and a story "Mystery Solved by Tram Ticket by Robert Pine as told by Jack McLean about a murder in London that was solved by a tram ticket found in the person's clothes. Rear page has purchase details of the book and CD, along with a contact address in Sydney. See Reg Item 5579 for the CD. Bob Merchant of the Sydney Tramway Museum advised 4/3/2021 that: Richard Peck, as Curator of Philately, Printing and Postal Technology, was responsible for the Museum of Applied Arts and Sciences acquiring major artefacts from the NSW Government Printing Office when it was forcibly closed by the government in 1989. In retirement Richard has researched the history of private bus routes before 1932 and government bus routes 1932-2021. He maintains a large database of all types of NSW transport tickets.trams, tramways, tickets, reports, melbourne, mmtb, stories

Image from CD (Compact Diskette for use in computers) - see Reg Item 135. A series of three images of the Hawthorn Bridge over the Yarra, c1930, during the era with problems with the bridge. See separate article for more details. Richmond 6, Richmond, Richmond 3 on the CD as original files. .1 - Looking from the south west, at the Hawthorn bridge with the temporary wooden bridge being constructed on the south side. Has the cable tram depot in the photo and part of the Burnley racing course. Temporary track on the north side of the steel bridge and crossings can be seen. .2 - Looking along Bridge Road to the east with Hawthorn Bridge in the middle of the photograph. Shows the industrial and residential areas, Hawthorn Railway Station and part of the Burnley Race course, the cable tram depot building. W class tram in Church St Hawthorn and W class tram crossing the bridge on the north side temporary track. Note the cable tram used as a shelter on the north east corner of the bridge. .3 - Looking south along River St towards Bridge Road, with the Yarra River and Hawthorn Bridge on the left side of the photograph. Shows the industry in the area at the time, wool and skin Merchants, north side of the cable depot, housing and the outlook to the river!trams, tramways, hawthorn, yarra river, burnley, richmond, hawthorn bridge

Dolomite is a mineral, calcium magnesium carbonate, with the chemical formula CaMg(CO3)2. It is a principle component of various rock types sometimes also referred to as dolomite, including dolostone, dolomitic marble and dolomitic limestone (according to the composition of each type). Dolomite rock is found in sedimentary basins throughout the world, comprising approximately 2% of the Earth's crust. It is formed when lime mud or limestone encounters groundwater containing magnesium. Dolomite can contain elements such as lead, zinc and copper. Dolomite and limestone are used in various construction, landscaping and agricultural processes. This specimen was donated to the Burke Museum in 1868 by Alfred Selwyn as part of the Geological Survey of Victoria. It was donated to the Museum in 1868. Victoria and other regions of Australia were surveyed for sites of potential mineral wealth throughout the 19th Century. The identification of sites containing valuable commodities such as gold, iron ore and gemstones in a locality had the potential to shape the development and history of communities and industries in the area. The discovery of gold in Victoria, for instance, had a significant influence on the development of the area now known as 'the goldfields', including Beechworth; the city of Melbourne and Victoria as a whole. Dolomite and limestone are mined at several locations in Victoria, including sites in the North-East of the state in Bindi and Limestone Creek. There are notable dolomite deposits in most Australian states. The dolomitised form of the mineral tends to come from older limestone deposits, formed during the palaeozoic era in marine settings, so this specimen may have come from a deposit located along a coastline in Victoria or another state. The specimen is significant as an example of surveying activity undertaken to assess and direct the development of the mineral resource industries in Victoria and Australia, as well as the movement to expand human knowledge of earth sciences such as mineralogy and geology in the nineteenth century. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.Hand-sized piece of pale pink dolomite (calcium magnesium carbonate) with dark grey rim and hollowed centre. geological specimen, geology, geology collection, burke museum, beechworth, dolomite, mineralogy, geological survey, alfred selwyn, limestone, calcium magnesium carbonate

These nine photographs of contractors felling a sequoia Californian redwood tree was taken at the Army Survey Regiment, Fortuna, Bendigo on the 16th of September 1994. Although 23 photos were taken at the time, 14 were not scanned due to their similarity to the nine featured photos. Two sequoia Californian redwood trees were planted at the front entrance of Fortuna Villa in the early days of gold mining magnate George Lansell’s occupation in the 1870’s. They were of immense proportion and much admired during the Lansell era and RA Svy’s occupation from 1942 to 1996. In these early days of Army occupation, the trees were lopped due to concerns of their size and proximity to the Villa. The felling of the tree in 1994 was considered unsafe due to perceptions of disease. These perceptions were upsetting to staff, as some believed that although there were a few dead branches, the tree was OK. As the tree had a noticeable lean, measurements were taken indicating the tree was stable. A sequoia sapling was eventually planted as a replacement to the diseased tree. It was decided to mill and store the timber of the felled tree on-site due to its historical significance. Although future uses were not determined at the time, the timber was eventually used to construct display cabinets and souvenir pens. When Defence decided to relocate geospatial production to a new facility in Junortoun an outer suburb of Bendigo in 2008, the sequoia timber was used as a beautiful feature in the front foyer as well as several feature walls within the building, providing a historical connection Fortuna Villa.This is a set of nine photographs of contractors felling a Sequoia (Californian redwood) tree at the Army Survey Regiment, Fortuna, Bendigo on the 16th of September 1994. The colour photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. .2) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. Neil Morgan (ground maintenance) is hugging the tree. .3) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. .4) to .8) - Photo, colour, 1994, Felling of sequoia Californian redwood tree. .9) - Photo, colour, 1994, background on left - WO2 Bob Garritty, foreground L to R: Geoff (ground maintenance), unidentified, Neil Morgan (ground maintenance)..1P to .9P – No personnel are identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr

Initially named the Conservation Corps, the British Trust for Conservation Volunteers (BTCV) was founded in 1959 by the Council for Nature. Today BTCV is the “largest practical conservation charity in the United Kingdom”, and celebrated its fiftieth birthday in February 2009. Its original name had been adapted from that of the Civilian Conservation Corps launched by President Roosevelt in Depression-era USA: - "I propose to create a Civilian Conservation Corps to be used in simple work, not interfering with normal employment, and confining itself to forestry, the prevention of soil erosion, flood control and similar projects. More important, however, than the material gains, will be the moral and spiritual value of such work. Roosevelt’s idea had been revived by Governor Jerry Brown of California in 1976 and exchange of ideas and personnel between the California Conservation Corps (CCC) and other US conservation corps) has flourished since. Mark Dwyer (later to play an important role in Green Corps) was leader of the first California Conservation Corps three-month exchange program to Australia in 1988. The first ATCV exchange group to California in 1987 National Director, Tim Cox and Team Leader, David Clark (group leader, in Australian military hat) Right: Members of the first CCC exchange team to Australia at the US Embassy, Canberra in 1988: from left - Merrold, Vicci and Bobby with Mark Dwyer (centre) and David Clark (ATCV, right). Exchanges have continued annually since 1988 and, in addition to environmental work done, many friendships have been made and maintained over the years. This sleeve patch symbolises strong international links in place since ATCV/CVA was founded.This cloth sleeve patch is an example of those sewn onto the uniforms of staff and volunteers of the California Conservation Corps. It is round with an orange rim with black lettering naming ther organisation and inside the rime there is a light blue circle inset with the State flag of California. This sleeve patch is part of CVA's collection of 34 sleeve patches from many States of the USA.corps, david, conservation, mark, dwyer, california, clark, sleeve, patches

The teaspoon is a European invention. Small spoons were common in Europe since at least the 13th century; the special spoons were introduced almost simultaneously with tea and coffee. (Pettigrew points to its use in the mid-17th century.) Originally the teaspoons were exotic items, precious and small, resembling the demitasse spoons of later times. Also used for coffee, these spoons were usually made of gilt silver, and were available with a variety of handle shapes: plain, twisted, or decorated with knobs, also known as knops, hence the knop-top name for such spoons. Widespread use and the modern size dates back to the Georgian era. The teaspoon is first mentioned in an advertisement in a 1686 edition of the London Gazette. Teaspoons, probably of English origin, are present in the 1700 Dutch painting by Nicholas Verkolje, "A Tea Party". An 1825 cartoon makes fun of a Frenchman unfamiliar with the British etiquette. The guest did not place his spoon into the cup and is thus being offered his thirteenth cup of tea! A special dish for resting the teaspoons, a "spoon boat", was a part of the tea set in the 18th century. At that time, the spoons played an important role in tea drinking etiquette: a spoon laid "across" the teacup indicated that the guest did not need any more tea, otherwise, the hostess was obligated to offer a fresh cup of tea, and it was considered impolite to refuse the offering. Pettigrew reports that sometimes the spoons were numbered to make it easier to match the cups with the guests after a refill. https://en.wikipedia.org/wiki/Teaspoon#:~:text=Teaspoon%20is%20a%20European%20invention,the%20mid%2D17th%20century).A history of the teaspoon.Metal teaspoon, badly corrodedNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

This photo records one of the swimming carnivals held at the Surrey Dive, the first of which was organised in 1907. It was at the 1907 carnival that champion swimmer Frank Beaurepaire won the one-mile championship in record time. In the era before purpose-built municipal swimming pools, Surrey Dive was a popular destination for swimming and people came to it from many Melbourne suburbs. It operated from 1905 to 1967. It was the newly formed Surrey Park Swimming Club (established in 1905) that petitioned the Box Hill Council to purchase the former quarry site associated with the Box Hill Brick Works. A ramp, bathing sheds, springboards, and eventually a 10-lane course were developed, making the Dive the first Olympic standard pool in Australia. The carnivals attracted huge crowds. The original use as a quarry explains the notorious depth of the swimming hole and the sheer, steep cliffs surrounding it. These posed obvious safety issues, as did the water quality. Ivy Lavinia Weber, who was the second woman to be elected to the Victorian parliament (the first at a general election) and renowned for her commitment to health and physical fitness, campaigned for State government assistance to build new baths. These were built adjacent to the Dive and were opened in 1939. The Dive continued as a facility used by experienced swimmers until 1967 when it closed due to the drought causing the water to dry up. Today the site has been turned into an ornamental lake. This image was used as a mural in the refurbishment of the Box Hill Aqualink. The image has strong associations with early industry (brick making), recreation and particularly the early history of the sport of swimming.Black and white photo with a white border. Scan shows image only. It shows 3 men diving from a wooden platform into an area of water beneath higher banks. There is a boat in the background, a building to the LHS of the photo and many spectators in boater hats on the platform, some in bathing suits along a ledge and many around the top of the bank. Two men in the LH foreground may be officials.Printed long the bottom edge of the frame: "An image from history - Carnival Day at the Dive. / (photo: Box Hill Council)"surrey dive, box hill brick works, swimming, surrey park swimming club, (mr) frank beaurepaire, (mrs) ivy lavinia weber, swimming carnivals

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This quilt sampler was made before 1900 by Rosina Ellwood. Crazy quilts were fashionable in the late Victorian era. The rise of the trend is attributed to the display of Japanese art and ceramics at the 1876 Philadelphia Centennial Exposition (U.S.A.) that featured asymmetrical designs. Inspired, quilters began sewing pieces of fabric of different sizes and textures together into abstract, asymmetrical patterns. The craze spread from America around the world. Embroidery, ribbon and silk embellishments, and hand stitched applique birds and flowers were popular additions. One magazine estimated that a detailed crazy quilt could take over 1,500 hours to complete. Crazy quilts remained in fashion in metropolitan cities until about 1910, though the style endured for longer in rural areas. This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women’s history.A colourful patchwork quilt sampler using mixed fabric types including velvet, cotton, brocade and satin, backed on cardboard.hamilton-smith collection, hamilton-smith, stiching, needlework, sewing, handmade, domestic, quilt, quilts, crazy quilt, crazy quilts, women's history

This program was given to attendees at the Bendigo Symphony Orchestra and Gisborne Singers performance on 24th November 2024 In a thrilling conclusion to their 2024 concert season, Bendigo Symphony Orchestra present Mahler’s Symphony No. 2 ‘The Resurrection’ – a transcendent journey from darkness to light. Witness the symphony on a colossal scale: ten trumpets, ten horns, two sets of timpani and an organ are just the beginning of Mahler’s mighty orchestration. And after the success of 2022’s inaugural Symphonia Choralis festival, BSO are once again partnering with the Gisbourne Singers to bring this glorious work to life. “Why have you lived? Why have you suffered? Is it all some huge, awful joke? We have to answer these questions somehow if we are to go on living – indeed, even if we are only to go on dying!” Written in a letter to a friend, these are the questions Mahler hoped to answer with this symphony. While epitomising the emotion and drama of the Romantic era, the work also anticipates the radical advances of the 20th century. Beginning with a steely funeral march, Mahler spins German folk-song and klezmer-inspired flourishes through four stunning movements, culminating in a sublime hymn of resurrection. This symphony explores life and death on a cosmic scale, and showcases Mahler’s rich technicolour writing and flair for dramatic narrative. “The whole thing sounds as though it came to us from some other world. I think there is no one who can resist it. One is battered to the ground and then raised on angel’s wings to the highest heights.” Be swept away by an eternal masterpiece.MAHLER SYMPHONY NO. 2 RESURRECTION Sunday 24th November 2024, 2.30pm Ulumbarra Theatre, Bendigo Luke Severn Chief Conductor Nicole Marshall Guest Conductor Merlyn Quaife AM Soprano Liane Keegan Contralto Gustav MAHLER Symphony No. 2 in C minor, ‘Resurrection’ I. Totenfeier: Allegro maestoso (25’) II. Andante moderato (12’) III. In ruhig fließender Bewegung (12’) IV. Urlicht (6’) V. Finale: Im Tempo des Scherzos (37’)bendigo symphony orchestra, luke severn, regional victorian orchestra, performance, gisborne singers

This private late-nineteenth-century four-wheeled carriage has been built to transport a family or group of passengers with a coachman in the front seat. It can be pulled by one horse, or by two horses if the T-pole is attached. The button fittings along each side of the carriage indicate that a folding roof or hood was once attached. The frame across the front of the carriagewas likely to have been a ‘dashboard’ with a leather or wood covering to prevent water, mud and other particles from splashing onto the passengers. The rear step between the two side-facing bench seats is adjustable to allow for ladies’ long skirts. These rear seats appear to be removable, in which case the carriage could be converted to a wagon to transport goods and equipment. The carriage could have been illuminated by oil or carbide lamps placed into the lamp holders on the sides. The carriage was kept under cover for many years in an open-front sandstone building that also included living quarters and an area that may have been stable. It was at ‘Murweh’ a Warrnambool property at 203 Liebig Street. The home is now Heritage and National Trust Listed and described as a ‘gentleman’s residence’. It was built by James Wotton Shevill in the 1860s. Shevill was a councillor from 1875 to 1878, serving in 1878 as Mayor of the Borough of Warrnambool. Jeremiah Wade lived at Murweh there from 1879-1880. By 1915 F.B. Whitehead and his family were living there, and by 1930 the address was used by Mr T.J. Rome and his family. Thomas James Rome was still using that address in September 1973 after his 100th birthday. It is believed that one of the property’s owners had been an Obstetrician in Warrnambool. The current owner re-told the story that children used to hide in the back section of the carriage and smoke, hidden from the sight of onlookers. He had heard the story from a previous owner.The well-appointed horse-drawn four-wheeled carriage is likely to have first belonged to a local councillor and past Mayor of the town of Warrnambool, J.W. Shervill, whose 1860s city property was the carriage location for many years. The carriage is a rare local example of a town-based lifestyle befitting a prosperous personality of the late 19th century. It adds to the story of Warrnambool's development as a town influenced by the port, wealth gained from shipping and the home place of prominent local people such as the Councillor and later Mayor. The side-facing rear seating is unusual for a passenger carriage. It has the feature of removable rear bench seats, allowing for the dual purpose of a carriage or wagon.Carriage; the Victorian-era horse-drawn four-wheeled open carriage has a coachman’s bench seat across the front and two side-facing bench seats in the rear. There are steps at the front on each side and a centre adjustable step and the back. It has a hinged shaft, two lamp holders and a separate T-pole. The bench seats have padded backrests upholstered in green leather and each has padded armrests at the ends. A rectangular metal frame, likely to have been a dashboard, is mounted across the front of the carriage. It has two inner vertical bars. The carriage's body is painted dark green with crimson highlights on some of the panelling. Decorative oval panels with hand-painted motifs are mounted along the sides. The side panels of the carriage have metal fastener buttons attached. The iron-rimmed wheels have sixteen wooden spokes and copper cuffs on the outside of the hubs, and the rear wheels are higher than the front wheels. Wooden brake blocks are mounted onto the back wheels and are active by a metal lever at the front right side of the carriage. The undercarriage is fitted with leaf springs on each side, mounted from front to back axles. Included are: (1) The separate T-pole that allows two horses to be harnessed to the carriage (2) Leather horse winkers with metal hardware and oval brass plate on the side of each winkerMotif painted on an oval panel [a musical lyre within a blue floral wreath flanked by scrolls] flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, murweh, buggy, cart, carriage, wagon, horse-drawn vehicle, victorian buggy, four-wheeled carriage, coachman’s seat, bench seat, side-facing benches, upholstered seats, victorian decals, heritage vehicle decoration, antique hand painting, hand painted decals, motifs, iron-rimmed wheels, wooden brake blocks, leaf springs, t-pole shaft, rear step, equine carriage, 19th century vehicle, victorian transport, transport, gentleman’s vehicle, james wotton shevill, councillor, mayor, jeremiah wade, f.b. whitehead, thomas james rome, warrnambool obstruction, warrnambool genealogy, warrnambool pioneers, victorian carriage, one horse carriage, two horse carriage, horse drawn carriage

Section 1. Notes on the use of this resource Section 2. Policy support statements. Aboriginal Studies Policy Statement of Victorian Aboriginal Education Association Incorporated (VAEAI) National Principles and Guidelines for Aboriginal Studies and Torres Strait Islander Studies, K-12 Principles for the Introduction of Aboriginal Perspectives in the Curriculum of the Catholic School (Catholic Education Commission of Victoria Policy 1.3, 1987) Section 3. Language, culture and viewpoint: issues of terminology Section 4. Units of work Unit 1. Koorie people of south-east Australia: a contemporary view Unit 2. On sacred ground Unit 3. Koorie life in the pre-contact era Unit 4. Mulla Meea-Baa Gnuenjall: a long time ago, and today Unit 5. The land we share: human stories in the environment Unit 6. Frontier wars Unit 7. Aboriginal mission stations and reserves in Victoria Unit 8. Land, law and indigenous Australians Section 5. Directory of indigenous organisations and affiliated groups/?agencies. National organisations Victorian organisations Catholic Education Commission of Victoria Indigenous Education personnel Organisations within regions of the Archdiocese of Melbourne Organisations within regions of the Ballarat Diocese Organisations within regions of the Sale Diocese Organisations within regions of the Sandhurst Diocese Cultural centres/?camps across Victoria.maps, b&w photographsvaeai, history, curriculum development, koorie studies, catholic education commission of victoria, secondary school education,

Set of 18 The Met Neighbourhood tickets, printed on paper for the 1983 to 1989 era. Availability dates printed on ticket. Conditions of use printed on rear. .1 - Werribee plus inner Concession, - 90c, May / June, No. 04034 .2 - Frankston plus one Concession, - 80c, May / June, No 05046 .3 - Box Hill Plus one Concession, - 80c, May / June, No 4487 .4 - Broadmeadows Concession, - 35c, May / June, No 28032 .5 - St Albans - 40c, Concession, Feb / Mar 1988 No. 12503 .6 - Inner - $1.30 Jan/Feb 1988 - No. A561125 .7 - Greensborough, Concession, 35c, Feb. 1987, No. 059474 .8 - Werribee Concession, 35c, May / June No. 04048 .9 - Greensborough, 70c, Feb. 1987 No. 028065 .10 - Box Hill plus inner concession, 90c May/June No. 14546 .11 - Moorabbin concession, 45c, July/Aug 1988 - No. 0235210 .12 - Inner concession, 60c, Jul/Aug 1988 - No. 737408 .13 - Anywhere - not priced, Feb/Mar. 1986 No. 087866 .14 - Frankston, 80c, May / June No. 29535 .15 - Ringwood, 70c, May / June No. 73736 .16 - Box Hill plus one, $1.60, Dec/Jan No. 07314 .17 - Broadmeadows plus inner - $1.80, May / June No. 23034 .18 - Ringwood plus one concession, 80c, May / June No. 06035.trams, tramways, tickets, the met, ptc, travel cards

This photograph of the plaque on the side of the P.S Adelaide while she was a stationary exhibit in the Hopwood Gardens from 1963 until 1984 tells the story of her manufacture and her work life up until 1963. The P.S Adelaide was launched on 21st July 1866. It was owned by J.G.Grassie from Poon Boon Station and the Officer Family of Murray Downs Station Swan Hill. The Adelaide was named after the niece of the Officer Bros, Adelaide Blackwood. The shipwrights who built her was George Linklater. The Adelaide brought wool and passengers from the wool stations on the Murray and Darling Rivers down to the Echuca Wharf. In 1872 she was sold to David Blair & Sons. She was used to bring timber from the Barmah Forest to the Echuca Wharf. She did this work for the next 80 years. In 1953 she was tied up near the Mill and left In 1958 she went to Paringa South Australia to work in the sawmill industry again. In 1960 the Echuca Apex Club and The Echuca Historical Society raised enough funds to buy the P.S. Adelaide and return her to Echuca. In November 1963 she was lifted out of the water and placed in Hopwood Gardens as this was thought to be a way of preserving her. In 1984 it was decided to return her to the water to resume work as a passenger vessel. In that time the Port of Echuca and the Echuca Wharf had been restored as a Tourist Precinct. The P.S Adelaide is extremely significant as it it the oldest known wooden hulled paddle steamers in the world. She was built in Echuca in 1866 and still operates on the Murray River today. She has worked in the Wool Industry, the Timber Industry and the Tourist Industry.Coloured photograph showing the information sign which was attached to the side of the P.S Adelaide whilst she was a stationary exhibit in the Hopwood Gardens from 1963 until 1984.On the sign is written; " P.S Adelaide/built on the Murray at Echuca for Officer Grassie &Co. Of Poon Boon and Murray Downs stations. Launched 20th July 1866. The vessel is typical of the steamers trading in the era of the Riverina and Darling River trade of 1853 to the early 1900's and which had by 1872 established aEchuca as the second busiest port in Victoria. Worked in the Red Gum logging trade until 1958 under the ownership of the Murray River Sawmills Co. She was purchased by that company from David Blair Saw Miller of Echuca in 1861. 75ft. 4 inches X 12 ft.5 inches X 3 ft. 6 inches built of 3 inch red gum planking on an angle. Iron frames 2? X 2?5/6. 30 H.P. Nominal arc original and made by Fulton & Shaw of Melbourne. Twin cylinders. 14 bore. 16 stroke Stephenson's reversing gear controlled by Captain from the wheelhouse. Locomotive type red gum wood. Master, Mate, Engineer, Fireman, Cook, and Deckhand. p.s. adelaide, port of echuca, grassie, j.g, linklater, george, poon boon station, blair, david, murray river, darling river, logging industry, officer brothers., barmah forest, fulton & shaw, hutchinson, kevin, adelaide blackwood, murray downs station

A Carte de Visite (hereafter CdV) (also known as a calling card) was popular within the mid-19th Century. It is a small card with a photographic portrait mounted on it. These cards were exchanged during the Victorian era (peaking in the 1860s) between families and friends. This particular CdV was captured by John Paul Carolin in c.1877. Carolin was a two time Mayor of Bendigo (1889-1990 and 1907-1908) and ran a photography studio on Piper Street in Kyneton from 1866. This photograph depicts a young Daniel “Dan” Kelly posing for his photograph while sitting on an ornate chair and leaning his elbow on a small pedestal table. Dan was approximately seven years younger than his famous brother, Edward “Ned” Kelly. He was born in 1861 to John “Red” Kelly (an Irish ex-convict) and Ellen Quinn. In march 1878, Dan was wanted for arrest on the charge of horse stealing. This event, known commonly as the “Fitzpatrick Incident” resulted in the formation of the Kelly Gang as it is known in popular culture today. After the incident the Kelly Gang disappeared into the bush and a 100 pound award was issued for their arrest. During this period the gang robbed banks including those at Jerilderie, Euroa and Benalla. On the 28th of June 1880, Dan Kelly died at Glenrowan in what was the Kelly Gang’s final stand: the Siege of Glenrowan. Following this event, Dan’s elder brother Ned is the sole survivor of the Kelly Gang until he is executed at the Melbourne Gaol on the 11th of November 1880. The circumstances around the deaths of Dan Kelly and Steve Hart are controversial but it is generally accepted that they died in a suicide pact inside the Ann Jones Inn.This photograph is part of the Burke Museum "Kelly album" which includes a significant collection of photographs and artefacts connected to Ned Kelly and the Kelly Gang. Ned Kelly and his gang have become ingrained in Australian popular culture and thus many museums, art galleries and private collections house material connected to the Kelly story which allows the events and people to be researched and interpreted. Individuals like Dan Kelly played an essential part in the Kelly story which have been adapted for popular culture. The study of these individuals through their images and records can help researchers to correctly interpret their involvement with Ned Kelly and the Kelly gang.Sepia, rectangular, postcard on boardObverse: Carolin Photograph Kyneton / Reverse PHOTOGRAPHED / FROM LIFE / ADVANCE AUSTRALIA / BY / J.P. CAROLIN, / KYNETON. / VICTORIA. / COPIES MAY BE HAD ON / APPLICATION. / DK/Dan Kelly/9 2 48/7#carte de visite, kelly gang, dan kelly, daniel kelly, fitzpatrick, ned kelly, steve hart, joe byrne, ann jones inn, glenrowan, kyneton, 1877, john paul carolin, carolin

This wooden spoke handle from the wheel of the “Success” a former immigrant ship, and later a convict hulk at Melbourne. The sailing ship “Success” was a teakwood vessel built in Natmoo (Natmaw), Tenasserim, Burma (now Myanmar) in 1840 for Cockerell & Co., Calcutta. Over its lifetime of 106 years, it was used to trade in the Indian subcontinent, to transport free emigrants to Australia, as a prison hulk in the Port of Melbourne for both hardened criminals, and later for women and boys, as a storage vessel for ammunition, a reformatory, and as a floating museum sent around the world to tell the tale of the convict era. During the time “Success” was used as a museum, pamphlets were distributed to paying customers advertising erroneously, that the “Success” was the oldest ship in the world. The “Success” sank and was re-floated twice: the first in Sydney in 1885, the second in the USA in 1918, before it was finally burned and sank July 4, 1946 in Lake Erie, near Sandusky, Ohio in 1946. Although the “Success” was home to prisoners while berthed in the Port of Melbourne, it was not used as convict transport. There has been speculation that Ned Kelly’s infamous armour was displayed on the “Success”, but this cannot be verified. Another link to Ned Kelly is Henry Johnson, an Irish prisoner on the Success, who was implicated in the murder of the ship’s warder, and later Johnson was supposedly a bushranger with Ned Kelly. It is also rumoured that Ned Kelly’s father John was a passenger on the Success, but this is also unverified. There are over 16 other ships named “Success”, although one in particular causes some confusion when researching “Success” in Australia. This other ship – the “HMS Success” was a 28 gun frigate built in1823, which was broken up in 1849. It also sailed to Australia. This piece of wood from the ship’s wheel of the “Success” is connected to the ship Success, built in Burma in 1840. The “Success” is connected to the history of Australia because she was used as a merchant ship to transport immigrants to Australia, as a prison ship in Melbourne, a storage vessel, and as a floating “convict” museum, which travelled the world. Spoke. Hndle from wheel of sailing ship, the “Success”. The shaped handle is domed at one end, becoming narrower towards the other end, then flattened out into a beveled circle. Marked “Success” in pencilflagstaff hill maritime museum, maritime museum, sailing ship success, ship's wheel spoke, ship's steering wheel, prison ship, prison hulks, convict ship

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. Ladies’ Edwardian mourning outfit; three-piece tailored suit comprising of a black silk long sleeve, short-waist fitted and lined Jacket, a long sunray pleated skirt and long, lined petticoat. Items have been machine-sown and hand-sewn by a dressmaker. The skirt has handmade buttons of the same fabric.Handwritten in ballpoint pen “Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria

This Edwardian era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death occurred often to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were a part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The black silk tailor-made jacket is one of three pieces of a ladies’ Edwardian mourning outfit. It has long sleeves, a stand-up collar trimmed with appliqued black crochet lace, and pleated sashes on the left and right sides from front to back fastened at the shoulder and waist. The jacket has a peplum or flounce below the waistline. The front of the jacket has brass hooks and fabric eye fastenings. The back of the jacket has two tails. The jacket is lined and the shoulders are padded. It has been machine sewn and finished with hand stitching. A white card is tied with a ribbon inside and has an inscription. The poplin skirt on the jacket has been cut up to the waist at the side seams. There is an attached card with an inscription, handwritten in ballpoint pen.“Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, sunburst pleats, western district victoria, mourning jacket

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s, but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made skirt is one of three pieces of a ladies’ Edwardian mourning outfit. The skirt is made from black silky fabric. The garment has only two seams; at the side closure and the centre back. The whole skirt has sunray pleats; narrow pleats at the waist that fan outwards towards the hem. The top of the skirt is finished with a waistband that is shaped as an upward V shape in the centre. The side seam is closed with four self-fabric buttons with silver metal backing. The shirt has been machine sewn.flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, mourning dress, death mourning, sunray pleats, western district victoria, full-length skirt

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made petticoat is one of three pieces of a ladies’ Edwardian mourning outfit. The petticoat is made from black silk lined with lightweight cotton. The petticoat and lining are constructed from eight panels each, brought together at the waist and gently gathered into the band. The back seam opening is fastened with brass hooks and fabric eyes. The lining has been reinforced with a heavier-weight hem. The hemline is finished with black velvet ribbon than encloses both the petticoat and lining. flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria, petticoat, undergarment, slip

This shipwreck artefact is a section of wood from the vessel “Success, a former immigrant ship, and later a convict hulk at Melbourne. The sailing ship “Success” was a teakwood vessel built in Natmoo (Natmaw), Tenasserim, Burma (now Myanmar) in 1840 for Cockerell & Co., Calcutta. Over its lifetime of 106 years, it was used to trade in the Indian subcontinent, to transport free emigrants to Australia, as a prison hulk in the Port of Melbourne for both hardened criminals, and later for women and boys, as a storage vessel for ammunition, a reformatory, and as a floating museum sent around the world to tell the tale of the convict era. During the time “Success” was used as a museum, pamphlets were distributed to paying customers advertising erroneously, that the “Success” was the oldest ship in the world. The “Success” sank and was re-floated twice: the first in Sydney in 1885, the second in the USA in 1918, before it was finally burned and sank July 4, 1946 in Lake Erie, near Sandusky, Ohio in 1946. Although the “Success” was home to prisoners while berthed in the Port of Melbourne, it was not used as convict transport. There has been speculation that Ned Kelly’s infamous armour was displayed on the “Success”, but this cannot be verified. Another link to Ned Kelly is Henry Johnson, an Irish prisoner on the Success, who was implicated in the murder of the ship’s warder, and later Johnson was supposedly a bushranger with Ned Kelly. It is also rumoured that Ned Kelly’s father John was a passenger on the Success, but this is also unverified. There are over 16 other ships named “Success”, although one in particular causes some confusion when researching “Success” in Australia. This other ship – the “HMS Success” was a 28 gun frigate built in1823, which was broken up in 1849. It also sailed to Australia. Statement of Significance: This piece of wood from the “Success” is connected to the ship Success, built in Burma in 1840. The “Success” is connected to the history of Australia because she was used as a merchant ship to transport immigrants to Australia, as a prison ship in Melbourne, a storage vessel, and as a floating “convict” museum, which travelled the world. Section of wood from ship “Success”. Wood appears to have been partially burnt, saw marks faintly visible on wood, remnant of a label with handwriting in black inklabel marked in script handwriting “Convict ship / “Success””flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, sailing vessel success, wood sample of sailing ship success, cockerell & co. calcutta

Reserve Forces Day Council Boer War Commemorative Medallion 2012 Descendant Medallion with ribbon suitable medallion has been struck to allow descendants and supporters to honour those who served in this all-but forgotten conflict 100 years ago. The Reserve Forces Day Council recognises it was a War fought in the main by Reservists. Permanent forces were small in number with only a Permanent Force Artillery unit and a number of staff officers and soldiers serving in the war. The Reserve Forces Day Council’s objective is to "Raise the profile of the Reserve Forces and to thank serving and former members for their service, and their families and employers for their essential support." This medallion has been struck for descendants and in memory of those Soldiers who fought in the War. The "In Memory" medallion is oval 50mm high by 40 mm wide and bears the inscription "BOER WAR 1899-1902" bordering the face within a colour infill and a clear cover of epoxy. The central image is of an Australian soldier in a uniform of the era. The attractive medallion is 'gold', appearing as surrounds for the inscription. The neck ribbon is in the colours of the Queen’s official service medal, all enclosed in a presentation pouch. A space on the reverse side of the Medallion provides for a personal message to be engraved at a later time. An example is "Presented to Leslie Perrett Descendant of Tpr Frederick Avard, NSW Lancers who died in combat 10 October 1900". The Medallion may be worn at memorial ceremonies and will become a family keepsake. It does not matter on which side your ancestor fought, or if the soldier fought in a unit from elsewhere in the then Empire. The Medallion marks an Australian connection, and shows your support for your ancestor's achievement.Associated with the 110th anniversary of the Boer War 1899 to 1902. A descendant's medal issued as a commemorative by the Reserve Forces Day Council in 2012. A round enamel and epoxy medallion issued by the Reseve Forces Day Council for descendants to remember the 110th anniversary of the Boer War and their descendants contribution. The Medallion is round measuring 40mm x 40mm and has the Boer War Campaign Red, Blue and Orange coloured ribbon attached, The medallion has a gold and red border with a photograph of a Boer War Soldier contained in the middle of the medallion. Surrounding wording on the medallion is : Boer War 1899-1902 A War Fought By Reservists. The bottom of the medallion has the letters RFD 2012 (which stands for the Reserve Forces Day National Council). The medallion has a gold and red border with a photograph of a Boer War Soldier contained in the middle of the medallion. Surrounding wording on the medallion is : Boer War 1899-1902 A War Fought By Reservists. The bottom of the medallion has the letters RFD 2012 (which stands for the Reserve Forces Day National Council). boer war descendant's medallion 2012, boer war commemorative medallion, reserve forces day national council boer war commemorative, boer war associated 1899 to 1902

Nicholas Caire was born on Guernsey in the Channel Islands in 1837. He arrived in Adelaide with his parents in about 1860. In 1867, following photographic journeys in Gippsland, he opened a studio in Adelaide. From 1870 to 1876 he lived and worked in Talbot in Central Victoria. In 1876 he purchased T. F. Chuck's studios in the Royal Arcade Melbourne. In 1885, following the introduction of dry plate photography, he began a series of landscape series, which were commercially successful. As a photographer, he travelled extensively through Victoria, photographing places few of his contemporaries had previously seen. He died in 1918. Reference: Jack Cato, 'Caire, Nicholas John (1837–1918)', Australian Dictionary of Biography. The 1860s marked the beginning of the era of reserves and missions. Six Aboriginal reserves were established during the 1860s. These were under the control of the Board for the Protection of Aborigines. Four were Christian missions receiving government aid. These were Lake Tyers (Anglican) and Ramahyuck (Presbyterian/Moravian) in eastern Victoria for the Gunai/Kurnai clans; Ebenezer (Moravian) in north-west Victoria for the clans of the Wimmera and Lower Murray; and Lake Condah (Anglican) in south-west Victoria. The other two were secular government controlled reserves: Framlingham which, like Lake Condah, was established for the Mara-speaking Gunditjmara and Kirrae-wurrung people of south-west Victoria; and Coranderrk, located about 60 kilometres north-east of Melbourne, for the Kulin clans of central Victoria. In 1863, after a period of devastation to the Kulin people, Coranderrk was established at the junction of the Yarra River and Badger Creek. Reference: http://coranderrk.com/, accessed 24 December 2016An original, rare photograph from the series 'Views of Victoria: General Series' by the photographer, Nicholas Caire (1837-1918). The series of 60 photographs that comprise the series was issued c. 1876 and reinforced a neo-Romantic view of the Australian landscape to which a growing nationalist movement would respond. Nicholas Caire was active as a photographer in Australia from 1858 until his death in 1918. His vision of the Australian bush and pioneer life had a counterpart in the works of Henry Lawson and other nationalist poets, authors and painters.Albumen silver photograph mounted on boardprinted in ink on support l.c.: SCENE NEAR "CORRANDERRK" STATION. / COPYRIGHT REGISTERED. printed in ink on support reverse c.: VIEWS OF VICTORIA. / (GENERAL SERIES.) / No. 9. / SCENE NEAR "CORRANDERRK" STATION. / This scene was taken from the hill near Rourke's Bridge, on the Healesville Road, and displays in the foreground / the River Yarra. The roadway which is seen in the mid-distance has lately been constructed by the Government, / as the old tracks which formerly existed, were liable to be swamped by the periodical overflowing of the River. Mount / Ridell can be seen in the extreme distance immediately behind the roadway. / Corranderrk is the local habitation / for the natives of this district, and is situated on the right hand side of the picture, about a mile and a half / from the roadway. printed in ink on support reverse l.c.l.: J.W. FORBES, Agent, printed in ink on support reverse l.c.: ANGLO-AUSTRALASIAN PHOTOGRAPHIC COMPANY, MELBOURNE. printed in ink on support reverse l.c.r.: 10 Temple Court, Collins Street West.nicholas caire (1837-1918), coranderrk aboriginal station, aborigine, yarra river, badger creek, first peoples, aboriginal and torres straight islander

This item was inherited from the donor's father, René Dupuche. John Dupuche, writes: This magnifying glass was used to remove the burrs and thorns that wool-buyers tended to get in their fingers when examining bales of wool. The open end was placed on the finger since the thorn was sometimes buried under the skin. The buyer looked through the magnifying glass and with tweezers or a pin removed the thorn which had rendered the finger inoperative. The wool-buyers needed the sensitivity of their fingers to appraise the suitability of the wool, as buyers had for centuries past, measuring the length of the staple, feeling and counting the crimps in the fibre, its finesse, softness, elasticity and strength, assessing the colour, watching for extraneous matter such as dust or seeds which would not be welcome by manufacturers half-way across the world. Their skills took years to acquire. Knowledgeable buyers were invaluable to their employers, since they were able to evaluate to the last percentage the yield of a bale. My father, René Dupuche, was the ‘principal buyer’ from 1927-1966 in Victoria, South Australia and Tasmania for the international wool company ‘Masurel Fils’ which was one of the largest wool businesses in Europe. It was based in the north of France, in Tourcoing, one of the major wool centres of the world. He was sent to Australia as a young man at the age of 23 and took part in the ‘golden era’ of wool in Australia, and the eventual replacement of hands-on appraisal by ‘core-testing’. Masurel Fils was one of the dozens of French and Belgian firms operating in Australia. These men from Flanders enjoyed a cosmopolitan society augmented by diplomats, European bankers and shipping-line executives for various countries and a handful of scientists and academics.Small black metal magnifying lens with three fold design and two hinges. One panel contains a circular glass lens, the centre panel has a circular hole, and the third panel has a square hole with three lines on each side.wool buyer, magnifying glass, magnifying lens, burrs, rené dupuche, john dupuche, migrants, masurel fils, french, belgian, flanders, working life, sheep industry, wool industry, agriculture