Refers to service of WO2 Rod Hosking RACT.Black Woollen Jacket (lined). Four front pockets. Epaulettes have a brass button each, Motif is R.A.C.T. There are no buttons on the pockets or sleeves. There are tailor's dots where buttons should be sewn. It has a white detachable collar attached to neck.Inside on label - 0730 Hosking.uniforms, passchendaele barracks trust

Gertrude Perry was born in California Gully in 1917. Her singing skills were recognized at an early age. She later sang with local choirs and sang on radio. She was involved with the Bendigo Operatic Society for many years. Gertrude began her working life in sales. After studying book keeping she worked at the Bendigo Ordnance Factory during WW2 and then worked for local solicitors and accountants. Gertrude was involved with many community and sporting organizations.Gertrude Perry Collection - Victorian Badminton Association Programme Victorian Badminton Championships 1948. Held at Exhibition Buildings Melbourne, Saturday August 21, at 7:45pm. Souvenir programme price six pence. Programme has been marked in pencil of games witnessed and the scores. Australian Championships and Interstate Matches, Exhibition Buildings September 21 - 30, with finals of the championships at the Melbourne Town Hall on Saturday 2nd October.scores marked on inside of cardsport, exercise

A brief history of Robert Whatmough's apple tree chest as inscribed on paper and attached to inside lid of chest.This chest was made from the trunk of an apple tree washed down the Plenty River to Greensborough in 1878. 1 page of text with line drawingwhatmough, apple tree chest

This is part of the A.J. Roddy Collection. The type written 'letter' inside cannot be deciphered as the envelope is stuck with adhesive.An Air mail letter/envelope written to A.J.Roddy while a prisoner of war in Stalag XV111 APrisoner of War post/ KRIEGSGEFANGENEN POST/ Service Des Prisoneiers De Guerre/(White writing on Blue Background) AIR MAIL/ PAR AVION/ (London Post Mark) Dater 21 April 1943// Top right hand corner: 21/2D (Pence) [Stamp Postage] with head of King George V (Blue)// RANK AND NAME (typed) Pte Roddy. A. J./Surname in Block letters British Prisoner of War/ Prisoner of War No (typed) 3557/(se note on flap)/ Camp name & No: (typed) STALAG XV111A G.W. 10511/ including subsidairy/ NUMBERING OR LETTERING/ if any EG WORKING CAMP/ COUNTRY (typed) GERMANYof, collection, war, prisoner, a j, roddy, xv111a, airmail, satalag, kriegsgefangenen, post, germany

Used by Army in training and during service to put inside a sleeping bag, or instead of a sleeping bag in the heat.Khaki coloured rectangular nylon bag secured on one side by four press studs.CONLONS Australia, 1971, 8465-66-011-5816 (broad arrow)sleeping bag, personal equipment, conlons, geelong rsl, army, vietnam

Photo taken from inside Blessington St Gardens (Botanic Gardens) looking at property on Dickens Streetblack and white photograph, unmounted, original, good condition

“Maori’s Idol” Trotter - Brian Healy Marnoo. Horse inside bar with silver cup drinking beer.stawell

Colour photo of inside of Ledcourt Homestead. Ladies are Mrs Eileen Cooper and possibly Mrs Ethel Cooperstawell

1. Jacket, light green. Wool/polyester two hip pockets in front. Jacket fastened with 5 brass buttons. Colours are broad. Short sleeves with small cuffs. 2. Trousers - light green, zip fly. No cuffs at bottom of legs, no pockets. 3. Hat, two tone green with RACT Badge - peaked brim. 4. Belt - light green. No buckle, has a press stud arrangement at one end.3. Hat - written inside is "Browne F3207657." 4. Number 360 written inside belt.wraac, uniforms, passchendaele barracks trust

1. This is a cardboard covered booklet. Khaki coloured cover, black printing. It has the title at the top, khaki on a black bar. December - January 1947-48. No.52. It has the crest of Australia in the centre. Australian Military Forces. The booklet is fastened with 2 staples. Includes 60 pages, maps, photos and drawings. 2. Same type of booklet as No. 1, except now its February-March 1948, No.53. 66 pages with maps, drawings and photos.1. Inside the cover is - 333-T-2. 2. Inside the cover is - 333-T-3.passchendaele barracks trust, army information, amf

Souvenired by John GRYLLS. John enlisted No 418, 4th LH Regt AIF on 19.8.1914 and was given the rank of Sgt as he had 3 years prior LH experience. Embarked for Eygpt 20.10.1914. Embarked for Gallipoli 20.5.1915. Hospitalised 12.12.1915 with Mumps. Hospitalised 7.1.1916 with Rodent Ulcer. Transferred to 1st Anzac Cycle Batt 20.3.1916 with the rank of CSM. Embarked for France 25.3.1916. Promoted RSM 7.4.1917. Hospitalised 15.7.1917 with Scabies. Embarked for Australia 24.9.1918. Hospitalised in Colombo 29.10.1918 with Pnuemonia. Discharged from the AIF 30.3.1919.Medium, grey, brimless cap with red band around edge & red piping around crown. Button sewn on red band at front.Handwritten inside" Grylls Dingee Inside crown: Dingee, a small town near Bendigo Vicmilitary uniform, costume, hats, germany, male

This membership ticket belonged to a member of the Partington family. Tickets admit bearer to games. Tickets include the names of office-bearers of the Greensborough Football Club and the season's fixture or draw. Gary Partington is a Life Member of the football club and a GHS member. Members of the Partington family have been associated with the GFC for many years and the family were inducted into the Club's Hall of Fame in 2016. Season ticket white cardboard with green text. Cover: "Greensborough Football Club 1976". Inside: Membership number "390" and "Player" stamped inside. greensborough football club, membership tickets, partington family

One pair of ladies' or child's kid leather gloves with piercing and raised stitching down the top or front of the glove.36 LAVABILE stamped inside the left glove 62/36 stamped inside the right glove.

A5 Hardcover book with a browny orange under cover. Outer cover has a dark picture of a Queen cell. Title is in Yellow writing, author is in orange writing. On the back are listed books & descriptions published by Robert Hale 156 pagesOn the inside front cover is a blurb about the book. The inside back cover is a blurb about the author

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8135.1 - Straw Akubra style hat with Australian native floral printed band. The left hand side has a small hat pin that features the Australian flag with the Olympic rings underneath. 8135.2 - Straw Akubra style hat with Australian native floral printed band. Around the printed band on the right side of the hat is a tag with the hats details.8135.1 - on the inside - Akubra Olympian Made in Australia 8135.2 - on the inside - Akubra Olympian Made in Australia1992 barcelona olympics, sport, athletes, fashion, design, uniform

Victorian Police Jacket worn by Senior Constable Les Atkinson. Donated by his wife Barbara Atkinson Melbourne in 2005.Navy Blue Jacket, hip length with long sleeves and belt. Has silver buttons down the front and on the 2 breast pockets. Epaulettes on the shoulders with buttons.In inside pocket, tab with Manufacture details, then in the inside of the inside pocket another tab with the Manufactue's name again and C/o Gardner W.K. Date 5. 65.senior constable les atkinson navy blue uniform with shiny buttons.

Demonstrates aspects of tramway operation, cancelling or showing that tickets had been inspected following sales to passengers by the conductor or motorman. Traditionally used by tramway operators to check or cancel tickets.Steel cast, chrome plated, machined, device used to cancel or punch paper tickets when purchased. Placed a four pointed star hole in the ticket. Spring loaded, consists of two main parts with a pin & spring in addition. Has a circular steel ring for a finger hold. Chrome plate started to wear off in some places. Has letter "D6" punched onto one arm and "Supplied by Bell Punch Ltd Uxbridge" just below the slit in the punch for the ticket.Has letter "D6" punched inside of handles near pin and letter "C: on inside of both handles and "X" near the outer edge of one the insides of the handle.trams, tramways, ticket punch, tickets, fares

An example of a Telephone Set D Mk V which was used by Australian forces during the Second World War for verbal and Morse code communications over short distances via a telephone line.An example of a Telephone Set D Mk V which was used by Australian forces during the Second World War for verbal and Morse code communications over short distances via a telephone line. Rectangular aluminum green painted box with broad canvas webbing strap secured to the side of the body through metal loops. Two vertical webbing loops are attached to the rear of the body. Stencilled in black on top TELE. SET. D. MK. V.'. The housing opens by a hinged fold back lid that is secured by a hook and eye closure. Attached to the inside of the lid are two metal plates. The first is a circuitry diagram, the second is the instructions for use of the set. The interior contains the phone assembly and is divided by a metal shelf. On the left is a bell with two screw terminal in front. At the center is the telegraph key and behind that is the battery box with a small metal plate with, 'TELEPHONE SET. D.MK.V To the right is metal box with two terminals in frontAttached to the bottom of the shelf is a slide out metal key Below the shelf is a compartment in which is stowed a black metal headset with provision for a bakelite handset with attached cord and four-prong plug.Tele Set stamped on outside of unit. Inside lid plaque - Telephone Set D MK V

This bottle once contained John Fletcher’s ginger cordial. It was found in August 2014 in the sand dunes at Levy's Point, near McKinnon's quarry, Warrnambool. ABOUT JOHN FLETCHER of WARRNAMBOOL John Fletcher Cordial (or Beverage) Co . Warrnambool, supplied cordial and aerated drinks to the Western district of Victoria. John Fletcher was named as a cordial manufacturer in the Warrnambool Standard of June 13th 1895, when he attended a Publican’s Association meeting. Mr John Fletcher, aerated water and cordial manufacturer of Koroit Street Warrnambool, had a summary of his factory printed in a short article in the Advocate, Melbourne, in February 1901. The article said “one of the most complete plants outside the metropolis … spacious … well appointed …old-established business … noted for the excellence of the quality … a trial [of the beverage] is solicited.” John Fletcher and Harold Caffin, trading as J.S. Rowley & co cordial manufacturers in 1903; were prosecuted in September 1903 when the Board of Health found an analysed sample of Raspberry Vinegar to contain coal tar colouring, which could be injurious to health, particularly to the kidneys. The factory was still in operation in December 1924, when sadly, Mr S. Fletcher, who was carrying bottles of aerated water at Mr John Fletcher’s cordial factory, sustained an eye injury when one of the bottles burst. Later the eye had to be removed at the Warrnambool Base Hospital. ABOUT CODD BOTTLES During the mid-to-late 1800s there were many inventions to keep the fizz in carbonated drinks such as ginger ale, soda water and fruit drinks. Hiram Codd, an English engineer invented a successful process that he patented as “Codd’s patented globe stopper bottle” in 1872. The Codd-neck bottle (commonly called Codd or marble bottle) is manufactured in two parts. The body of the bottle is cast in two sections. At the time of joining the sections a glass marble and rubber seal are inserted into the neck section. The lip is then applied to the top of the bottle. The Codd bottle is filled upside down as the pressure of the gas from the carbonated liquid holds the marble up and out of the way. When the bottle stands upright the gas pushes the marble up against the washer, creating a firm seal to keep the fizz inside. The bottle is opened by pushing the marble down firmly to allow some of the gas to escape. The marble drops down and is caught in a depression formed in the neck. When the bottle is tilted to pour or drink the liquid the marble rests in a dimple. Some have said that the bottle as a character, the shape having a face with its mouth keeping the marble out of the drink and eyes that catch the marble so that it doesn’t roll into the mouth of the drinker. The Codd bottle was expensive to produce and children loved to destroy the marbles to play with the marbles inside. Many shops and factories added a deposit to the cost of buying the drink to encourage children to return the bottles rather than break it for the marble. Codd bottles are still being produced in India and Japan for soft drinks. A Codd bottle with the same markings as this one is valued on today’s Australian auction sites from $35 - $75 AUD. Bottle, aqua/green glass, with glass marble inside. John Fletcher's Ginger Ale, Warrnambool. Container is often called a "Codd neck bottle", “marble bottle” or “Codd’s patent bottle”. Bottle made by Dobson. Inscription on bottle and base. c. 1905Marks moulded into glass; "JOHN FLETCHER / GINGER ALE / WARRNAMBOOL" and “DOBSON” and on base “G”. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, codd bottle, codd neck bottle, marble bottle, ginger beer bottle, john fletcher soft drinks, warrnambool soft drinks and cordials, john fletcher cordial (or beverage) co ., codd neck bottle, glass stopper bottle, hiram codd, antique bottle, harold caffin, john fletcher

Australian Army Cessna used during Vietnam War - Logbook contains service history between 1/5/1978 to 28/1/2011 when propeller was removed from aircraft. Contained inside sleeve attached to inside rear cover is cardboard record detailing service history between 17/7/1967 and 6/8/1974Grey cardboard book with spine bound in blue fabricSymbol containing Department of Transport Australia Propeller Log Book Serial No 61209 Log Book No Onelogbook, australian army cessna, vietnam war

In 1938, the SEC Ballarat decoarated a tram with paper flowers for the Floral Festival. Has four ladies dressed in matching clothes standing inside the tram and four inside the doorways. Photographed in Wendouree Parade with Lake Wendouree in the background. The story is that it rained on the day and the ink in the dresses ran. See Reg Item 5188 for a coloured postcard of the ladies standing outside the tram. Yields information about a tram decorated for the 1939 floral festival colour scheme and has a strong association with the people involved in it. Demonstrates the colours used.Framed photograph of the 1939 Floral Tram, No. 29, photographed in Wendouree Parade, rendered, hand painted, in colour. March 1939. Frame - wooden, light brown frame, glazed, with a cut cardboard piece framing the photograph and most of the damage around the print. Has two rounded screw hooks with picture wire between them.Has a label on the front of the glass "Decorated Tram 1938" and number 01291. On the cardboard piece are the initials upside down "FKN"trams, tramways, floral tram, decorated trams, tram 29

The Process of Making Pottery Decorating, Firing, Glazing, Making, Technical There is a rhythm and flow to clay. It can’t be done all at once! Even the making process! It can take weeks to get everything done, especially if you can only work on your pottery once a week! Even though we have three hour classes, it’s often just not enough time! Here is an overview of some of the processes so you have a bit more grasp on some of the technical stuff! Step One – Design There are SO many ideas out there for making stuff in clay! From delicate porcelain jewellery, through to heavy sculptural work and everything in between. Deciding your direction is sometimes not that easy – when you first start, try everything, you will naturally gravitate to the style that you enjoy! The options and variations are endless and can get a wee bit overwhelming too! Check in with me before you start to ensure your ideas will work, what order you might do things, how you could achieve the look you are seeking and any other technical data required! Step Two – Making Clay is thixotropic. This means that as you work with it, the clay first gets sloppier and wetter, before is begins to dry in the atmosphere. For most things, you simply can’t do all parts of the project at once. An example of work order might look like: Get last weeks work out from the shelves Prepare clay for today’s work – roll your clay, prepare balls for throwing, make the first stage of a pinch pot) Clean up last week’s work and put it on the shelf for bisque firing Check that you have any glazing to do – and do enough of it that you will have time to finish your main project Do the next step of your next project – there might be a further step that can’t be complete immediately, in that case, wrap your work well and put onto the shelves. Letting your work rest for a while can really help keep your work clean and professional looking. Many things require bagging under plastic to keep it ready for work the next week – put your name on the outside of the bag so you can find your work easily. We have stickers and markers. Consider how you want to decorate your work – coloured slip can be applied at a fairly wet stage (remembering that it will make your work even wetter!). Trying to apply slip to dry clay won’t work! If you want to do sgraffito – you will need to keep the work leather hard (a state of dryness where you can still work the clay with a little effort and a little water and care). Step Three – Drying Most of the time your work can go into the rack uncovered to let it dry out for the following week. If you want to continue forming or shaping you will need to double bag your work – put your work on a suitable sized bat and put the bat in a bag so the base of the bag is under the bat, then put another bag over the top of the work and tuck the top of the bag under the bat. If you want to trim (or turn) your thrown work the following week, it should also be double bagged. If your work is large, delicate, or of uneven thicknesses, you should lightly cover your work for drying. When considering the drying process, bare in mind the weather, humidity and wind! The hotter and dryer, the faster things dry and work can dry unevenly in the shelves – this can lead to cracking – another time to lightly cover your work for drying. Step Four – Trimming and Cleaning Up Your work is dry! It is called greenware now and it is at it’s most fragile! Handle everything with two hands. I often refer to soft hands – keep everything gentle and with your fingers spread as much as possible. Try to not pick up things like plates too much, and always with both hands! Before your work can be bisque fired it should be “cleaned up”. You work won’t go into the kiln if it has sharp edges – when glazed, sharp edges turn into razor blades! Use a piece of fly wire to rub the work all over – this will scratch a little so be light handed. Use a knife or metal kidney to scrape any areas that require a bit more dynamic treatment than the fly wire offers! Finally, a very light wipe over with a slightly damp sponge can help soften and soothe all of your edges and dags! Trimming thrown work: If you are planning to trim (or turn) your thrown work (and you should be), make sure you bag it well – your work should be leather hard to almost dry for easiest trimming. Use this step to finish the work completely – use a metal kidney to polish the surface, or a slightly damp sponge to give a freshly thrown look. Wipe the sponge around the rim after trimming, and check the inside of the pot for dags! Trimming slip cast work: Usually I will trim the rims of your work on the wheel the following day to make that stage easier, however you will still need to check your work for lumps and bumps. Last but not least – check that your name is still clearly on the bottom of your work. Step Five – Bisque Firing When the work is completely dry it can go into the bisque kiln. The bisque kiln is fired to 1000°C. This process burns off the water in the clay as well as some of the chemically bound water. The structure of the clay is not altered that much at this temperature. Inside the bisque kiln, the work is stacked a little, small bowl inside a larger bowl and onto a heavy plate. Smaller items like decorations or drink coasters might get stacked several high. Consideration is paid to the weight of the stack and shape of the work. A bisque kiln can fire about one and a half times the amount of work that the glaze kiln can fire. The firing takes about 10 hours to complete the cycle and about two days to cool down. Once it has been emptied the work is placed in the glaze room ready for you to decorate! Step Six – Glazing Decorating your work with colour can be a lot of fun – and time consuming! There are three main options for surface treatment at this stage: Oxide Washes Underglazes Glazes Washes and underglazes do not “glaze” the work – It will still need a layer of glaze to fully seal the clay (washes don’t need glaze on surfaces not designed for food or liquid as they can gloss up a little on their own). Underglazes are stable colourants that turn out pretty much how they look in the jar. They can be mixed with each other to form other colours and can be used like water colours to paint onto your work. Mostly they should have a clear glaze on top to seal them. Oxides are a different species – the pink oxide (cobalt) wash turns out bright blue for instance. They don’t always need a glaze on top, and some glazes can change the colour of the wash! The glazes need no other “glaze” on top! Be careful of unknown glaze interactions – you can put any combination of glaze in a bowl or on a plate, but only a single glaze on the outside of any vertical surface! Glazes are a chemical reaction under heat. We don’t know the exact chemicals in the Mayco glazes we use. I can guess by the way they interact with each other, however, on the whole, you need to test every idea you have, and not run the test on a vertical surface! Simply put, glaze is a layer of glass like substance that bonds with the clay underneath. Clay is made of silica, alumina and water. Glaze is made of mostly silica. Silica has a melting point of 1700°C and we fire to 1240°C. The silica requires a “flux” to help it melt at the lower temperature. Fluxes can be all sorts of chemicals – a common one is calcium – calcium has a melting point of 2500°C, however, together they both melt at a much lower temperature! Colourants are metal oxides like cobalt (blue), chrome (green through black), copper (green, blue, even red!), manganese (black, purple and pink) iron (red brown), etc. Different chemicals in the glaze can have dramatic effects. for example, barium carbonate (which we don’t use) turns manganese bright pink! Other elements can turn manganese dioxide brown, blue, purple and reddish brown. Manganese dioxide is a flux in and of itself as well. So, glazes that get their black and purple colours, often interact with other glazes and RUN! Our mirror black is a good example – it mixes really well with many glazes because it fluxes them – causes them to melt faster. It will also bring out many beautiful colours in the glazes because it’s black colouring most definitely comes from manganese dioxide! Glaze chemistry is a whole subject on it’s own! We use commercial Mayco glazes on purpose – for their huge range of colour possibilities, stability, cool interactions, artistic freedom with the ability to easily brush the glazes on and ease of use. We currently have almost 50 glazes on hand! A major project is to test the interactions of all glazes with each other. That is 2,500 test tiles!!!! I’m going to make the wall behind the wheels the feature wall of pretty colours! Step Seven – Glaze (Gloss or sometimes called “Glost”) Firing Most of the time this is the final stage of making your creation (but not always!) The glaze kiln goes to 1240°C. This is called cone 6, or midrange. It is the low end of stoneware temperatures. Stoneware clays and glazes are typically fired at cone 8 – 10, that is 1260 – 1290°C. The energy requirement to go from 1240°C to 1280°C is almost a 30% more! Our clay is formulated to vitrify (mature, turn “glass-like”) at 1240°, as are our glazes. A glaze kiln take around 12 hours to reach temperature and two to three days to cool down. Sometimes a third firing process is required – this is for decoration that is added to work after the glaze firing. For example – adding precious metals and lustres. this firing temperature is usually around 600 – 800°C depending upon the techniques being used. There are many students interested in gold and silver trims – we will be doing this third type of firing soon! After firing your work will be in the student finished work shelves. Remember to pay for it before you head out the door! There is a small extra charge for using porcelain clay (it’s more than twice the price of regular clay), and for any third firing process! Once your work has been fired it can not turn back into clay for millennia – so don’t fire it if you don’t like it! Put it in the bucket for recycling. https://firebirdstudios.com.au/the-process-of-making-pottery/ This bowl is an example of kitchenware used in the 19th century and still in use today.Bowl white ceramic plain that has two sets of edging around lip. Inside bowl has plaster designed to look like cooking mixture.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, kitchen equipment, ceramic

Utility Pouch was a rectangular web case that was designed to carry three Bren 30 round magazines, or two Anti-tank Rifle Magazines, or Small Arms Ammunition, or a number of Grenades, or a Water Bottle. They were secured with a flap at the top, hinged at the rear, which was fastened with a brass stud fastener on a short web tab.The object is representative of utility pouch/pouch for carrying magazine/ammunition and other items of equipment from the mid to late 20th century. The original design is the 1937 pattern web equipment.Utility Pouch of rectangular web case. Of rectangular parallelepipped shape made of thick and sturdy fabric (canvas). The colour is of a pale shade of green. Front view - Rectangular shape with overlapping closing flap with a press-stud fastener to maintain closed. Left and right views - Both sides are identical. Made of a one piece of fabric forming the base as well ("U" shape) Back view - Rectangular with metal hooks on the middle part for attachment to a belt. There is a Twigg buckle on the top part of the pouch mounted on another piece of canvass ending in a triangular shape. . Bottom view - ‘the fabric forming the base is also forming the sides of the pouch. Top view - closing flap overlapping on 3 sides and forming part of the back of the pouch. Inside view - There is excess fabric from the back panel that forms an additional layer at the base of the pouch.. Handwritten on the back: 3/750133. DELVE S.J.E. On the inside of the closing flap: presence of very faded markings (unreadable)

The item is a hard cover book recording stock in 1889 for T.J. Connolly, Ironmongers, Sandhurst. Each handwritten page lists goods by location, quantity, description, prices with price total at the bottom of each page. Locations include shelves, floor, yard, factory, paint shop. Pages 1 to 175 have been numbered by hand. An alphabetical index list types of stock from pages 158 to 164. Pages from number 165 to the end of the book are blank. The hard cover is patterned and shows some wearing at the corners and front and large patches of wear on the back. The spine edge is red with considerable wear at the top and bottom. The front cover has a paper rectangle stuck to the middle, with an ornate printed border and "Stock 1889" handwritten inside the border. The pages are bound together with string. This item is part of the Margaret Roberts Collection.The front cover has a paper rectangle stuck to the middle, with an ornate printed border and "Stock 1889" handwritten inside the border. A list of numbers is handwritten inside the back cover. The first six numbers are crossed out. Ticks and crosses sit beside some of the numbers.margaret roberts collection, ironmongers, forest street, bendigo businesses

Beret dark green size 52 of the Royal Australian Ordnance Corp; black cotton bias ribbon securing the outer and inner material; cotton bias ribbon draw string to adjust fit to head size; Royal Australian Army Ordnance Corps cap badge there is a plastic weather proof lining on the inside four air holes 5mm dia 20 mm apart Inside beret storage bar code label with: NSN 8410-66-097-7302/Beret W Dark Green 52/ self adhesive clothing stores sales price tag / D8410 66/M097 7302/ >>>$8.80