About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s 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 technichian, 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 trhe 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.Olive green culotte shortsolympics, 1992 barcelona olympics, olympic uniforms, wool, wendy powitt, culottes

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s 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 technichian, 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 trhe 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 stretchGreen knee length skirt with button and zip back. Has two pockets, and two darts in both front and back.Label 1 - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia 141992 barcelona olympics, australian wool corporation, wool, olympic games official occasions

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s 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 technichian, 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 trhe 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.Yellow long sleeved shirt with detachable floral collar. Double breasted pockets.Label - Pelaco1992 barcelona olympics, australian wool corporation, wool

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s 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 technichian, 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 trhe 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.Green button up tailored jacket with two faux pockets and a breast pocket on left hand side. Olympic logo on left breast pocket.Label 1 - Barcelona 1992 Official Uniform Supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia On breast of jacket - Australia Barcelona 19921992 barcelona olympics, uniform, jacket, fletcher jones

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s 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 technichian, 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 trhe 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.Yellow shirt, one pocket on left breast. The cuffs and the collar are white.On label - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation1992 barcelona olympics, wool, australian wool corporation

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s 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 technichian, 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 trhe 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.Floral tie with cream, red, green native flower design.On label - Woven & manufactured in Australia by "Tee-Dee" exclusively for the Australian Wool Corporation1992 barcelona olympics, uniform, tie, australian wool corporation

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s 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 technichian, 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 trhe 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.Green jacket with Olympic emblem on left breast pocketLabel 1 - Barcelona 1992 Official Uniform Supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia Label 3 - Warm iron dry clean only On jacket breast - Australia Barcelona 19921992 barcelona olympics, uniform, tie, australian wool corporation

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s 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 technichian, 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 trhe 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.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 56. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Retains original swing tag.Labels: Akubra / 56 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s 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 technichian, 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 trhe 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.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 59. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Labels: Akubra / 59 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

In the years following the Crimean War (1854-1857J) there was a great concern in the Colony that Imperial Russia would attempt an invasion. Coastal defences in the colony of Victoria were greatly strengthened by the Government as a result. Warrnambool was originally protected by cannons at Cannon Hill, approximately 1 kilometer west of the Flagstaff Hill Fortifications. These cannons included two 1866 guns, both 80 Pound Rifled Muzzle Loaders (RML) purchased by Victoria’s Colonial Government. They were part of a shipment of 26 such guns sent from England in December 1866. They are registered as No. 23 (80cwt-2qr-0lbs) - Gun 1, and No.13 (81cwt-1qr-12lbs) - Gun 2. They were cast at the Royal Gun Factory, Woolwich Arsenal, in 1866 and have a 6.3 inch bore. Both barrels carry the Royal Cypher of Queen Victoria, Insignia of the Royal Engineers, within the Garter and Motto surmounted by the Crown, with the Royal Cypher of Queen Victoria within the Garter (letters in centre “VR”, motto “HONI SOIT QUI MAL Y PENSE”, "Shame be to him who thinks evil of it."). The guns were originally supplied with wooden carriages. (The Royal Arsenal at Woolwich, England, was established eleven years after the Restoration of King Charles II. It was the principal supplier of armaments to the British and Empire Governments. At the height of its operations during World War One the factory covered 1300 acres and employed very nearly 80,000 workers. Woolwich was the Headquarters of the Royal Artillery since the raising of that Regiment in 1716. The Arsenal was closed in the late 1960’s.) These two cannons were transferred to the Warrnambool Garrison Artillery Battery Fortifications erected at Flagstaff Hill in 1887 as part of Victoria’s Coastal Defences. The original wooden carriages were subsequently replaced with the present iron garrison carriages in 1888. They are a “C” pivot. The ‘racers’ or curved track set into the floor of the gun emplacement (which enabled the guns to be traversed more quickly) are as specified for guns up to 10 inch, being of wrought iron 2.78 inches wide. A temporary third gun, now no longer on Flagstaff Hill’s site, was a 5 inch Rifled Breech Loading (BL) Armstrong gun mounted on an Elswick hydro pneumatic disappearing carriage It was faster to load and fire than the 80 pound RMLs and its arrival spelt the end of the older 80 pound guns’ useful life, apart from being used for practice sessions. The 5 inch BL gun was the main defensive weapon of the Warrnambool Battery until the Battery was downgraded in importance and the gun was recalled to Melbourne in 1910. The State of Victoria took over the ownership of the guns at the time of Australian Federation in 1901. In about 1901/1902 the Garrison Battery was converted to the Warrnambool Battery of the Australian Field Artillery (No 4 Field Battery). It was equipped with 4.7 inch naval guns mounted on field carriages. They were now a mobile unit but continued to use the Warrnambool Garrison area at Flagstaff Hill for practice. When the Fortifications were declared obsolete the two 80 Pounder RML were relocated to Cannon Hill in 1910. On the outbreak of World War One the 4.7 inch guns were recalled to Melbourne, and the Battery was disbanded. Most of the personnel probably re-enlisted in the local 4th Australian Light Horse Regiment. The two 80 Pounder RML were moved back to the Fortifications in 1973. They were both fully restored by Army First Year Apprentices at the Ordinance Factory in Bendigo in time for the centenary year of the fortifications in 1987. The guns are capable of firing 80 pound (32.3kg) armour piercing exploding shells 3.65kms out to sea. They were original manned by volunteers before a paid Garrison was established. Now the Guns are again fired by volunteers on Special Event days. Since restoration the Gun Number 1 had been fired on a regular basis but Gun Number 2 hadn’t been fired since the mid 1990’s. In April 2015 Gun Number 2 was serviced in preparation for the firing of both cannons on the ANZAC Centenary commemorations on April 25th 2015. Other guns from the original Cannon Hill location were obsolete by the time the 1887 Warrnambool Garrison Artillery Battery was built. These guns are (1) a 32 Pounder Muzzle Loading Smooth Bore (SB) cast in 1813 at the famous Carron Foundry, number 80837 and now located in the Warrnambool Botanic Gardens (2) a 68 Pounder Muzzle Loading Smooth Bore cast in 1861 at the equally august Low Moor Foundry, number 10310 and now located on the lawn area at the entrance to Flagstaff Hill Maritime Village. Both of these guns are mounted on their original wooden garrison carriages. There are only seven 32 Pounder SB made by Carron and fifteen 68 Pounder SB made at Low Moor known to exist in the State of Victoria (Conservation Management Plan for Victorian Guns and Cannon, South Western Victoria, May 2008, ref W/F/04)The Warrnambool Garrison has been added to the Victorian Heritage Register H1250 “for its intact battery and guns, a strong reminder of Victoria’s wealth and determination to protect itself from the perceived threat of invasion in the 1880’s.” The City of Warrnambool is one of several custodians of a collection of artillery pieces of heritage significance at a state, national and international level. These pieces are directly related to the defence of south-west Victoria in the 19th century. The care and preservation come under the Heritage Act 1995. Cannon. 80 Pounder Rifled Muzzle Loading (RML) Gun on iron carriage and slide, installed in the Battery at Flagstaff Hill’s Fortifications.. Made in 1866 at the Royal Gun Factory (R-G-F), Woolich, England. Gun Reg No - 23. Flagstaff Hill Garrison Gun 1 (Gun No. 1) Insignia of the Royal Engineers, and the weight of the gun, stamped on top of the gun’s barrel. There is a brass plate on the side of the gun with the details of 1987 restoration.Stamped on axle cover on side of barrel “R-G-F / No 23 / 1866”. Stamped into the metal on top of the barrel, Insignia of the Royal Engineers; Garter and Motto “HONI SOIT QUI MAL Y PENSE”, surmounted by the Crown, with the Royal Cypher of Queen Victoria “VR” within the Garter. Also stamped on top of the gun are 2 inward pointing arrows above the weight ”81-2-0”. Brass plate “RESTORATION / BY / FIRST YEAR / APPRENTICES / ORDANANCE FACTORY / BENDIGO 1987”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cannon, 80 pounder, rifled muzzle, loading, royal gun factory, woolich

In the years following the Crimean War (1854-1857J) there was a great concern in the Colony that Imperial Russia would attempt an invasion. Coastal defences in the colony of Victoria were greatly strengthened by the Government as a result. Warrnambool was originally protected by cannons at Cannon Hill, approximately 1 kilometer west of the Flagstaff Hill Fortifications. These cannons included two 1866 guns, both 80 Pound Rifled Muzzle Loaders (RML) purchased by Victoria’s Colonial Government. They were part of a shipment of 26 such guns sent from England in December 1866. They are registered as No. 23 (80cwt-2qr-0lbs) - Gun 1, and No.13 (81cwt-1qr-12lbs) - Gun 2. They were cast at the Royal Gun Factory, Woolwich Arsenal, in 1866 and have a 6.3 inch bore. Both barrels carry the Royal Cypher of Queen Victoria, Insignia of the Royal Engineers, within the Garter and Motto surmounted by the Crown, with the Royal Cypher of Queen Victoria within the Garter (letters in centre “VR”, motto “HONI SOIT QUI MAL Y PENSE”, "Shame be to him who thinks evil of it."). The guns were originally supplied with wooden carriages. (The Royal Arsenal at Woolwich, England, was established eleven years after the Restoration of King Charles II. It was the principal supplier of armaments to the British and Empire Governments. At the height of its operations during World War One the factory covered 1300 acres and employed very nearly 80,000 workers. Woolwich was the Headquarters of the Royal Artillery since the raising of that Regiment in 1716. The Arsenal was closed in the late 1960’s.) These two cannons were transferred to the Warrnambool Garrison Artillery Battery Fortifications erected at Flagstaff Hill in 1887 as part of Victoria’s Coastal Defences. The original wooden carriages were subsequently replaced with the present iron garrison carriages in 1888. They are a “C” pivot. The ‘racers’ or curved track set into the floor of the gun emplacement (which enabled the guns to be traversed more quickly) are as specified for guns up to 10 inch, being of wrought iron 2.78 inches wide. A temporary third gun, now no longer on Flagstaff Hill’s site, was a 5 inch Rifled Breech Loading (BL) Armstrong gun mounted on an Elswick hydro pneumatic disappearing carriage It was faster to load and fire than the 80 pound RMLs and its arrival spelt the end of the older 80 pound guns’ useful life, apart from being used for practice sessions. The 5 inch BL gun was the main defensive weapon of the Warrnambool Battery until the Battery was downgraded in importance and the gun was recalled to Melbourne in 1910. The State of Victoria took over the ownership of the guns at the time of Australian Federation in 1901. In about 1901/1902 the Garrison Battery was converted to the Warrnambool Battery of the Australian Field Artillery (No 4 Field Battery). It was equipped with 4.7 inch naval guns mounted on field carriages. They were now a mobile unit but continued to use the Warrnambool Garrison area at Flagstaff Hill for practice. When the Fortifications were declared obsolete the two 80 Pounder RML were relocated to Cannon Hill in 1910. On the outbreak of World War One the 4.7 inch guns were recalled to Melbourne, and the Battery was disbanded. Most of the personnel probably re-enlisted in the local 4th Australian Light Horse Regiment. The two 80 Pounder RML were moved back to the Fortifications in 1973. They were both fully restored by Army First Year Apprentices at the Ordinance Factory in Bendigo in time for the centenary year of the fortifications in 1987. The guns are capable of firing 80 pound (32.3kg) armour piercing exploding shells 3.65kms out to sea. They were original manned by volunteers before a paid Garrison was established. Now the Guns are again fired by volunteers on Special Event days. Since restoration the Gun Number 1 had been fired on a regular basis but Gun Number 2 hadn’t been fired since the mid 1990’s. In April 2015 Gun Number 2 was serviced in preparation for the firing of both cannons on the ANZAC Centenary commemorations on April 25th 2015. Other guns from the original Cannon Hill location were obsolete by the time the 1887 Warrnambool Garrison Artillery Battery was built. These guns are (1) a 32 Pounder Muzzle Loading Smooth Bore (SB) cast in 1813 at the famous Carron Foundry, number 80837 and now located in the Warrnambool Botanic Gardens (2) a 68 Pounder Muzzle Loading Smooth Bore cast in 1861 at the equally august Low Moor Foundry, number 10310 and now located on the lawn area at the entrance to Flagstaff Hill Maritime Village. Both of these guns are mounted on their original wooden garrison carriages. There are only seven 32 Pounder SB made by Carron and fifteen 68 Pounder SB made at Low Moor known to exist in the State of Victoria (Conservation Management Plan for Victorian Guns and Cannon, South Western Victoria, May 2008, ref W/F/05)The Warrnambool Garrison has been added to the Victorian Heritage Register H1250 “for its intact battery and guns, a strong reminder of Victoria’s wealth and determination to protect itself from the perceived threat of invasion in the 1880’s.” The City of Warrnambool is one of several custodians of a collection of artillery pieces of heritage significance at a state, national and international level. These pieces are directly related to the defence of south-west Victoria in the 19th century. The care and preservation come under the Heritage Act 1995. Cannon. 80 Pound Rifled Muzzle Loading (RML) Gun on iron carriage and slide, installed in the Battery at Flagstaff Hill’s Fortifications. Made in 1866 at the Royal Gun Factory (R-G-F), Woolich, England. Gun Reg No 13. Flagstaff Hill Garrison Gun 2 (Gun No. 2). Insignia of the Royal Engineers, and the weight of the gun, stamped on top of the gun’s barrel. There is a brass plate on the side of the gun with the details of 1987 restoration.Stamped into the metal on top of the barrel, Insignia of the Royal Engineers; Garter and Motto “HONI SOIT QUI MAL Y PENSE”, surmounted by the Crown, with the Royal Cypher of Queen Victoria “VR” within the Garter. Also stamped on top of the gun are 2 inward pointing arrows above the weight ”81-1-12”. Brass plate “RESTORATION / BY / FIRST YEAR / APPRENTICES / ORDANANCE FACTORY / BENDIGO 1987”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, colonial defences, victoria’s coastal defences, warrnambool fortification, warrnambool garrison battery, warrnambool volunteer corps, ordinance, armaments, cannon hill fortifications, 4th australian light horse regiment, no 4 field battery, 80 pound cannon rifled muzzle loaders (rml), victorian colonial government, royal gun factory england, woolwich arsenal, royal cypher of queen victoria, garrison gun

1959 was the first issue of 'Threshold'. In 1951 thirty girls started a junior technical course for the first time in Ballarat, under the Principal of the Ballarat School of Mines. By 1959 it had increased enormously with an enrolment of 284 students, and its own headmistress. The early school took place in the Dana Street Primary School and a large portion of the Ballarat Technical Art School. It was not thought necessary for girls to produce a magazine, but Joan Hood (Kirner) was determined that the girls would have the same opportunity as the boys. “When I went out teaching, I went to Ballarat Girls Tech, where I met [husband] Ron who was at Ballarat Boys Tech. They were seen as tough schools, and I saw the disadvantage faced by these girls who were at the lowest of the low of the education rung – and yet there were some fantastic girls there who needed equal opportunity. So I think it was teaching that cemented in my mind that people don’t get an even go – and in particular girls. It didn’t take me too long to realise blokes were largely empowered. And it was teaching that cemented how equity and empowerment for women could be achieved through education.” Sarah Capper: You graduated from Melbourne University in 1958, and as mentioned, began work as a teacher in Ballarat. You married Ron in 1960 and received one of those government letters asking you to resign - JK: Yes, I think it burnt a hole in my pocket when I brought it home! We were both teachers, and I said to Ron, “Well, you got married – where’s your letter?!” That really clarified that the world wasn’t quite even, even in this profession that I’d always wanted and loved. I didn’t get superannuation – I think I got something like 100 pounds as pay in lieu of permanent service. And that wasn’t just me – that was a whole generation. Fancy that – that’s what it said – “pay in lieu of permanent service”. So that made me livid. If I hadn’t been a feminist before then, I certainly was by then. I realised the distribution of power was different for women and men. http://sheilas.org.au/2014/02/a-bonza-joan-kirner/, accessed 06/06/2015 The four houses of the Ballarat Girls' Technical School were Bass House, Sturt House, Flinders House and Mitchell House. Orange and green soft covered magazine of 24 pages. Includes a message from the headmistress, Fay Moore, and a photograph of the Magazine Committee featuring teacher Joan Hook (later Joan Kirner, Premier of Victoria). Information and a photograph is given for the following personalities: Sandra McHenry, Sylvia Rowe, Heather Young, Beverley Davis, Lorna Robertson, Janice Hunter, Margaret Ayars, Margaret Veal, Heather O'Brien, Hilary Batt, Leone Davies, Marlene Drever, Janet Smith.ballarat girls' technical school, joan hood, joan kirner, fay moore, i.e. harris, faye hilton, marilyn miller, lesley cutts, margaret jones, moira blair, rosemary davies, lorraine button, vivienne guy, lorraine krankovich, loralie crabbe, beverley davis, shirley dean, lorrice campbell, hilary batt, valerie stewat, sandra mchenry, joy henderson

Hair clippers are specialized implements used to cut human head hair. They work on the same principle as scissors, but are distinct from scissors and razors. :Hair clippers comprise a pair of sharpened comb-like blades in close contact one above the other which slide sideways relative to each other, a mechanism which may be manual or electrical to make the blades oscillate from side to side, and a handle. The clipper is moved so that hair is positioned between the teeth of the comb, and cut with a scissor action when one blade slides sideways relative to the other. Friction between the blades needs to be as low as possible, which is attained by choice of material and finish, and frequent lubrication. Hair clippers are operated by a pair of handles that are alternately squeezed together and released. Barbers used them to cut hair close and fast. The hair was picked up in locks and the head was rapidly depilated. Mid 20thC such haircuts became popular among boys, and young men in the military and in prisons. Burman & Sons Ltd, of Ryland Road, Birmingham, West Midlands, manufactured Burman-Douglas steering gear. Their recirculating worm and ball design of steering gear was fitted to pre-war vehicles such as the Ford Eight and the Ford Prefect, the Bedford CA, plus heavy trucks and off-road vehicles - both pre and post-war. In its day, Burman-Douglas steering-gear was regarded as.... a "quality" feature of a car chassis specification, but the worm and ball design was eventually surpassed by the cheaper rack and pinion design that dominates today. The company also manufactured motorcycle gearboxes, horse clippers and barbers’ clippers. 1871 Company founded. 1897 Private company. 1930s Gearbox for Ariel Square-four motorcycle. (Exhibit at Birmingham Thinktank museum) 1933 Burman and Sons Limited, manufacturers of horse and barbers' clippers, sheep shearers, motor cycle gear boxes and steering gears, Ryland road, Edgebaston 1953 S. F. Burman, M.B.E., Managing Director, Burman and Sons, Ltd 1955 Acquired by Vono Industrial Products. 1961 Manufacturers of motor and motorcycle accessories. 1,500 employees. 1968 Supplied rack and pinion steering units to Ford 1978 Adwest Group acquired Burman and Sons, the steering gear part of Duport. 1986 Major reduction in staffing at Burman due to fall in demand for its products and delivery problems. A set of hand held barbers’ hair clippers with an adjustable screw, from Burman and Sons Ltd of Birmingham, England. Chrome plated, in good condition, c1950. On left arm ; BURMAN On right arm ; MADE IN ENGLANDbarbers, hairdressing, hair clippers, grooming, horse clippers, cars, motor cycles, gear boxes, rack and pinion , worm and ball, steering gears, steel manufacture, birmingham england, burman and sons ltd, moorabbin, bentleigh, ormond, cheltenham, market gardeners,

This Certificate, Load-Line, gave approval for the vessel Reginald M to load cargo up to a certain line, marked by a disc attached to the ship and inspected by the South Australian Harbors Board. The vessel had a long and varied life of service. This Certificate relates to early 1970, before the ship was sold to the Lyall Mining and Rail Company. The Load Line on the Reginald M was carved on the ship, inside the hull and not removeable. The REGINALD M - The vessel “Reginald M” was a two-masted coastal ketch, owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. The Reginald M’s purpose was to serve the coastal trade of South Australia, to carry cargo cheaply and efficiently. It is believed that the keel was in fact hewn from two telegraph poles! Its builder frequented all the salvage yards for materials and fittings. Reginald M had a very shallow draft and a flat bottom that enabled it to come close to shore and to sit high and dry at low tide or to be beached on sand. The flat bottom was also to make the ship able to skim over reefs. Wagons could load and unload direct from her side. Her cargo included Guano, Barley, Wool, Horses, Cattle, Timber, Explosives, Potatoes, Shell Grit and Gypsum. After a variety of services, in late 1970 Reginald M was sold to the Mt. Lyell Mining and Railway Company and was used by them as a barge to carry explosives. In 1972 the Navy League of Strahan, Tasmania, purchased her for use by the Strahan Sea Cadet Unit to use at Macquarie Harbour and renamed her T.S. Macquarie. However this plan for use of Reginald M did not come to pass. In 1974 Mr. Andrew Rennie, of East Brighton, Melbourne, bought her for a similar purpose. , paying $5,000 and donating a ‘Cadet of the Year” trophy to the Sea Cadets. He sailed her from Strahan to Melbourne, planning to use her for pleasure sailing. Also in 1975 Reginald M was sold to Melbourne Ferry Company at auction. Later in 1975 the Reginald M was bought by Flagstaff Maritime Museum for $20,000 . She has been restored and is now one of the exhibits in the Village lagoon or lake. It was restored in 2006 using funds from a $4,000 government grant.This Certificate is significant because of its association with the last working days of REGINALD M. REGNIALD M was a coastal trading ketch from South Australia built in 1922. It was one of very few sailing coastal trading vessels still existing until 2016, and its flat bottom, single chine shape illustrated a very simple but robust method of construction, compared to other round bilged examples of trading vessels. The vessel is listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.)Certificate, rectangular, behind glass in wooden frame. Certificate is an official printed form, some information is over-typed, other information is hand written and signed. Frame has a central hole in top and bottom. The Certificate relates to Load Level of the vessel Reginald M and refers to the exact placement of a disc within the vessel that indicates the maximum load in fresh water. . Issued to the vessel 'Reginald M', Official Number 137228. . Issued by the Sough Australian Harbors Board . Valid from 25-02-1970 to 31-01-1974. . Signed by Neil Cormack, 25th February 1970Certificate of Approval - Load Line for sailing vessel Reginald M, Official Number 137228. Logo of the South Australian Harbors Board. Issued by Department of Marine & Harbors, Port Adelaide, 25th February 1970. In force until 31st January 1974. Signed by Neil William Cormack, authorised officer for Department of Marine & Harbors. Typed onto form: "AUX [SAILING SIP]" "REGINALD M" "137228" "1968" " Neil William Cormack" "Department of Marine & Harbors" "1 [foot] 3 [inches below the] main [deck]" "31st JANUARY 74" "25th FEBRUARY 70" Signature: "Neil W Cormack"flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, coastal trader, reginald m, ketch, john murch, ch murch, reg webb, carribie station, mt lyell copper company, melbourne ferry company, certificate of approval, load line, 137228, load line disc, 25-02-1970, neil w cormack, neil william cormack, south australian harbors board, department of marine and harbors, harbours

See image 2085i4 for tender re brake blocks detailing the type of cast iron and the Brinell hardness.Demonstrates MMTB tender documents of 1923.Manila colour file marked "Specifications" containing 25 different specifications of the MMTB 1922 to 1925. Not all dated, generally foolscap sheets either pinned or stapled. Dated Tender No. For supply of: 30/6/1925 157 Steel castings Not dated Ballast Hopper trucks 1923 Steelwork for electric and cable tramway crossings Pamphlet Monier Pipes and box culverts Pamphlet Monier – septic tanks and aerators Not dated 229 Purchase of removal of cottages 101 to 107 Bouverie St Carlton Not dated Side tipping ballast trucks 18/7/1923 226 Brake shoes - see pdf file for a full scan 18/7/1923 222 Steel tramway tyres 18/7/1923 220 Concrete Mixing Plants Not dated 219 Dressed wooden poles 9/5/1923 215 Bricks 19/4/1923 214 Reinforced Concrete fencing posts 20/3/1923 213 Tramway steel wire ropes 28/3/1923 212 Painting exterior of 673 Bourke St Melbourne Not dated 210 Alterations to offices at Rathdowne St depot Not dated 202 80lb steel rails and fishplates 5/1/1923 198 GE201 Motors 6/12/1922 197 Hydraulic pit jacks 6/12/1922 195 Supply of Low tension feeder cable Not dated 194 Supply of high tension cable 4/12/1922 188 Supply of hard drawn trolley wire 6/11/1922 186 Dressed wooden poles 20/11/1922 182 Steel Poles 20/12/1922 171 Erection and completion of new car depot Glen Huntly Roadtrams, tramways, mmtb, tenders, specification, trackwork, motors, cables, poles, ballast wagons, glenhuntly tram depot, brake blocks

The Micro-Professor I Plus (MPF-IP) was a low cost, versatile microcomputer system featuring sophisticated software and hardware capabilities. (MPF-IP) boasted a display panel with the ability to display 20 characters using 16-segment fonts. All 64 standard ASCII characters could be displayed. The operation of the MPF-IP was controlled by an 8k monitor program which resides in the Read Only Memory (ROM). The monitor, aided by 4k Random Access Memory (RAM), enabled the user to enter a comprehensive set of single keystroke commands, making it easier for the user to use the CPU, memory and I/0 devices. This allowed the user to concentrate of microprocessor software development and application design. The system allowed printing at 48 lines per minute, and the ability to permanently record the commands, data, programs, status and other messaged. Each character printed by the printer is in a 5 by 7 dot matrix. Although the prime purpose of the programming was for machine language object code formed as hexadecimal numbers, the Micro-Professor has an embedded Tiny Basic interpreter for which formation of some of the alpha characters using a standard 7 segment display was ingenious. The program memory consisted of non volatile 2 kilobytes electrically programmable ROM whilst the Random Access Memory came with 2 kilobytes of static RAM but could be upgraded to 4 kilobytes by insertion of another chip. The entire memory space of 64 kilobytes was accessible by way of the terminals on the left hand side of the board. Engineering and Science students from the Ballarat School of Mines and the Ballarat College of Advanced Education used a class set (as they were relatively inexpensive at approx. $100 each) during the mid to late 1980s. Student were encouraged to borrow the Micro-Professors in order to assist in learning how to use them. Only one was ever not returned on time. When pressed to return the device the student confessed that his dog had chewed the plastic case. This is still in our collection complete with bite marks! The Micro-Professor used a Zilog Z80 microprocessor. This was the most powerful of the 8 bit microprocessors at the time. Zilog was derived from the Intel 8080 microprocessor. The Z80 had 158 instructions of which the Intel 78 instructions were a subset. The Intel processor continued on through development in the IBM computers as 8086, 80286, 80386, 80486 and later the pentiums. Zilog lost most of its market share when it developed the 16 bit Z8000 microprocessor. Although the microprocessor was excellent, the lack of peripherals caused users to abandon Zilog products. A brown and gold plastic box containing a microcomputer for use in classrooms. Four manuals are titled 'Micro-Professor MPF-IP user's Manual', 'MPF-I Experiment Manual (Software/Hardware)', Micro-professor MPF-IP experiment Manual (Software/Hardware)' and Micro-Professor MPF-I Monitor Program Source Listing.microcomputer, micro computer, micro professor, electronics

Rodd's was established by George & Ernest Rodd in Melbourne in 1919.They were manufacturers and wholesalers of precious metal jewellery. Later they began to manufacture high quality silver plated cutlery under the brand name “Rodd”. They then expanded into holloware when they took over Platers Pty. Ltd. who produced a very high quality range of silver plated Sheffield Reproduction Silverware, under the brand name “Hecworth”. Rodd’s established a large factory at 150 Barkly St., St. Kilda, Melbourne. During WW2 with a staff some 200, the factory produced ordnance components to help with the war effort. Rodd’s established sales offices in the main city centres of all States. The company prospered. In December, 1960, Rodd [Australia] Ltd. was merged with Mytton’s Ltd., Melbourne, and became part of the newly formed company Mytton Rodd [Australia] Ltd. Mytton’s were also producers of silver plated cutlery under the brand name “Grosvenor” and were strong competitors to the Rodd brand of cutlery Australia wide. It was a friendly take over and the Directors of Rodd [Aust.] Ltd. were appointed to the board of Mytton Rodd [Aust.] Ltd., and some to the Holding Company Mytton’s Ltd. Mytton’s were heavy manufacturing engineers producing a large range of stainless steel products including: kitchen sinks of various design, beer barrels [9 and 18 gallon kegs] for the breweries, milk vats for cooling and storing milk on dairy farms, a large range of dairy and industrial vessels, road transport tanks, LPG tanks, low pressure pre-mix vessels for the soft drink industry. They also produced a range of domestic bathes, steel railway sleepers, using their 3000 ton hydraulic presses. Mytton’s also had their own non ferrous foundry and rolling mill which produced nickel silver sheet used in the manufacturer of their silver plated cutlery. They also produced copper sheet for their own and industrial use. Mytton’s had factories in York St., South Melbourne and Port Melbourne. Rodd [Aust.] Ltd. set up a manufacturing, distribution plant in Auckland, New Zealand, circa 1960. This company began producing precious metal jewellery in a rented space in the premises of Matthey Garret Ltd., Bullion Merchants, in Drake St., Auckland. Later they moved into their own building in Sale St., Auckland. The company prospered and purchased land and built a factory at 121 Apirana Ave. Glen Innes, Auckland, circa 1964. ( B. McCulloch Rodd Pty Ltd)A butter knife with stainless steel blade and bone handle c1930on blade; RODD / STAINLESScutlery, stainless steel, cheltenham, moorabbin, bentleigh, early settlers, rodd aust ltd, mytton rodd pty ltd, aukland, port melbourne

Bushfire Prevention Week was initiated by the Forests Commission in 1930. Victoria’s State Governor, Lord Somers, the Lord Mayor of Melbourne, Sir Harold Luxton and the newly appointed Minister for Forests, William Beckett launched the innovative campaign with great flourish to 250 invited guests at Melbourne’s opulent Town Hall on Monday 13 January 1930. Special church sermons had been held previously on Sunday. The packed program of gala events included lavish luncheon talks at city clubs, scholarly lectures broadcast on the wireless, together with daily articles in the Melbourne and country press about the pressing need for fire prevention. The slogan for the ground-breaking campaign was… Prevent Bush Fires – It Pays… The Shell Petrol Company of Australia supplied 15000 windshield stickers, the British Australasian Tobacco Company donated a large supply of stamp stickers, while many other companies drew attention to the campaign in their newspaper advertisements. The Victorian Railways and many city firms displayed special fire posters, while Bryant and May posted messages on their limited-edition matchbox covers which are now highly prized by phillumenists (i.e. matchbox collectors). The Postmaster General's Department franked postage stamps and letters with special bushfire slogans. While plainclothes police were secretly deployed to the bush to arrest potential arsonists. Canvas and enamel fire prevention signs were erected on most roads leading to forest areas. Letters to the Editor later appeared in many city and country newspapers extolling the virtues of Bushfire Prevention Week and urging for its continuation as an annual event. Although a new idea for Australia, the Canadian Forest Service had been running a similar program for a few years. The Forests Commission in its 1929-30 Annual Report, under the title of "Propaganda", noted with some glee… "One of the most gratifying features of the ''Week" was its low cost to the Government, the major part of the publicity material being donated by private firms." And so for the next 50 years until the 1980s, Bushfire Prevention Week continued unabated with the Forests Commission producing a series of coloured “Magic Lantern” slides which were manufactured by Alex Gunn and Sons in Collins Street Melbourne for screening at Val Morgan cinemas. The slides famously introduced the menacing character, Willy Wildfire, warning motorists to be careful with matches. Now known as Fire Action Week, it remains a key event in the annual calendar for both DEECA and the CFA and is still going strong... These canvas fire awareness signs were used right throughout the period of the Forests Commission until the mid 1980sBushfire awareness signbushfire

Bushfire Prevention Week was initiated by the Forests Commission in 1930. Victoria’s State Governor, Lord Somers, the Lord Mayor of Melbourne, Sir Harold Luxton and the newly appointed Minister for Forests, William Beckett launched the innovative campaign with great flourish to 250 invited guests at Melbourne’s opulent Town Hall on Monday 13 January 1930. Special church sermons had been held previously on Sunday. The packed program of gala events included lavish luncheon talks at city clubs, scholarly lectures broadcast on the wireless, together with daily articles in the Melbourne and country press about the pressing need for fire prevention. The slogan for the ground-breaking campaign was… Prevent Bush Fires – It Pays… The Shell Petrol Company of Australia supplied 15000 windshield stickers, the British Australasian Tobacco Company donated a large supply of stamp stickers, while many other companies drew attention to the campaign in their newspaper advertisements. The Victorian Railways and many city firms displayed special fire posters, while Bryant and May posted messages on their limited-edition matchbox covers which are now highly prized by phillumenists (i.e. matchbox collectors). The Postmaster General's Department franked postage stamps and letters with special bushfire slogans. While plainclothes police were secretly deployed to the bush to arrest potential arsonists. Canvas and enamel fire prevention signs were erected on most roads leading to forest areas. Letters to the Editor later appeared in many city and country newspapers extolling the virtues of Bushfire Prevention Week and urging for its continuation as an annual event. Although a new idea for Australia, the Canadian Forest Service had been running a similar program for a few years. The Forests Commission in its 1929-30 Annual Report, under the title of "Propaganda", noted with some glee… "One of the most gratifying features of the ''Week" was its low cost to the Government, the major part of the publicity material being donated by private firms." And so for the next 50 years until the 1980s, Bushfire Prevention Week continued unabated with the Forests Commission producing a series of coloured “Magic Lantern” slides which were manufactured by Alex Gunn and Sons in Collins Street Melbourne for screening at Val Morgan cinemas. The slides famously introduced the menacing character, Willy Wildfire, warning motorists to be careful with matches. Now known as Fire Action Week, it remains a key event in the annual calendar for both DEECA and the CFA and is still going strong... These canvas fire awareness signs were used right throughout the period of the Forests Commission until the mid 1980sBushfire awareness signHelp Prevent Bushfiresbushfire

Bushfire Prevention Week was initiated by the Forests Commission in 1930. Victoria’s State Governor, Lord Somers, the Lord Mayor of Melbourne, Sir Harold Luxton and the newly appointed Minister for Forests, William Beckett launched the innovative campaign with great flourish to 250 invited guests at Melbourne’s opulent Town Hall on Monday 13 January 1930. Special church sermons had been held previously on Sunday. The packed program of gala events included lavish luncheon talks at city clubs, scholarly lectures broadcast on the wireless, together with daily articles in the Melbourne and country press about the pressing need for fire prevention. The slogan for the ground-breaking campaign was… Prevent Bush Fires – It Pays… The Shell Petrol Company of Australia supplied 15000 windshield stickers, the British Australasian Tobacco Company donated a large supply of stamp stickers, while many other companies drew attention to the campaign in their newspaper advertisements. The Victorian Railways and many city firms displayed special fire posters, while Bryant and May posted messages on their limited-edition matchbox covers which are now highly prized by phillumenists (i.e. matchbox collectors). The Postmaster General's Department franked postage stamps and letters with special bushfire slogans. While plainclothes police were secretly deployed to the bush to arrest potential arsonists. Canvas and enamel fire prevention signs were erected on most roads leading to forest areas. Letters to the Editor later appeared in many city and country newspapers extolling the virtues of Bushfire Prevention Week and urging for its continuation as an annual event. Although a new idea for Australia, the Canadian Forest Service had been running a similar program for a few years. The Forests Commission in its 1929-30 Annual Report, under the title of "Propaganda", noted with some glee… "One of the most gratifying features of the ''Week" was its low cost to the Government, the major part of the publicity material being donated by private firms." And so for the next 50 years until the 1980s, Bushfire Prevention Week continued unabated with the Forests Commission producing a series of coloured “Magic Lantern” slides which were manufactured by Alex Gunn and Sons in Collins Street Melbourne for screening at Val Morgan cinemas. The slides famously introduced the menacing character, Willy Wildfire, warning motorists to be careful with matches. Now known as Fire Action Week, it remains a key event in the annual calendar for both DEECA and the CFA and is still going strong... These canvas fire awareness signs were used right throughout the period of the Forests Commission until the mid 1980sBushfire awareness signProtect your forests from firebushfire

In March 2024, Milissa Box (DTP) was at a trash and treasure market. She'd found a $5 photo album for sale with some photos that she thought might be of interest… From what I can gather it belonged to the gentleman pictured who was a worker at Dandenong in the Comeng and ABB eras. He appears to have worked on the Z3, A1/A2, B1/B2 class trams, Hong Kong LRVs, Comeng Melbourne suburban trains, and later the extra Victorian-purchased XP power cars and XAM sleepers to enable the Riverina XPT to be extended to Melbourne. It's clear he was very proud of the vehicles he'd helped to build. I have scanned a selection of the images, which appear to be a mix of official builder's portraits, team photos, and self-taken shots showing candid everyday scenes on the shop floor. There are also images of the launch of the XP power cars with then-Victorian Premier Joan Kirner; and some personal visits to see the Flying Scotsman, Victorian Goldfields Railway, Coal Creek, etc. Filename Description Date Comeng Scans 2024-03-05 0001 Three Comeng workers (including the photographer) stand in front of Comeng suburban train 697M (Chopper unit) c. June-July 1989 Comeng Scans 2024-03-05 0002 Three Comeng workers (including the photographer) stand in front of Comeng suburban train 697M (Chopper unit) c. June-July 1989 Comeng Scans 2024-03-05 0003 Hong Kong Light Rail Phase 1 LRV 1013 being lifted onto its transport loader c. 1987-88 Comeng Scans 2024-03-05 0004 Walter Wright transport truck (Mack) waits to draw a heavy transport platform out of a shed at Comeng Dandenong. Hong Kong Phase I LRV (1024) can be seen inside the shed c. 1988 Comeng Scans 2024-03-05 0005 Hong Kong Light Rail Phase 1 LRV 1013 on its transport loader in a shed at Comeng Dandenong ready for transport c. 1988 Comeng Scans 2024-03-05 0006 Hong Kong Light Rail Phase 1 LRV 1013 on its transport loader in a shed at Comeng Dandenong ready for transport c. 1988 Comeng Scans 2024-03-05 0007 The photographer is pictured fitting components to the cab of a Phase I Hong Kong LRV No 1026 c. 1988 Comeng Scans 2024-03-05 0008 Hong Kong Light Rail Phase 1 LRV 1013 on its transport loader at Comeng Dandenong ready for transport c. 1988 Comeng Scans 2024-03-05 0009 Hong Kong Light Rail Phase 1 LRV 1013 on its transport loader at Comeng Dandenong ready for transport c. 1988 Comeng Scans 2024-03-05 0010 Hong Kong Light Rail Phase 1 LRV 1013 on its transport loader at Comeng Dandenong ready for transport c. 1988 Comeng Scans 2024-03-05 0011 The photographer and a colleague are pictured in the car park posing for a photo at Comeng Dandenong c. 1988 Comeng Scans 2024-03-05 0012 The photographer and a colleague are pictured inside the cab of Comeng suburban train 697M, posing for a photo at Comeng Dandenong c. 1989 Comeng Scans 2024-03-05 0013 A stainless steel Hitachi train bodyshell is being transported on a truck-trailer. Possibly taken at Martin and King in Bayswater, under transport to the station for railing to Somerton for fitout. This is a later series M car with the rear-mounted pantograph (note the mounting lugs above the non-driving end) c. 1980 Comeng Scans 2024-03-05 0014 A shot at Comeng Dandenong of the onsite workforce standing in front of a Phase I Hong Kong LRV. c.1987-88 Comeng Scans 2024-03-05 0015 A shot at Comeng Dandenong of the onsite workforce standing in front of a Phase I Hong Kong LRV. c.1987-88 Comeng Scans 2024-03-05 0016 Hong Kong Light Rail Phase 1 LRV 1038 on its transport loader at Port of Melbourne ready for transport c. 1988 Comeng Scans 2024-03-05 0017 Three Comeng workers (including the photographer) stand in front of a workbench at Comeng Dandenong c. June-July 1989 Comeng Scans 2024-03-05 0018 A newly completed Comeng train (wearing VicRail teacup orange) on the factory access track at Comeng Dandenong c. 1981 Comeng Scans 2024-03-05 0019 A newly completed Z3 class tram on a transporter, with its bogie frames waiting transport to Preston Workshops for final fitout and commissioning c. 1981 Comeng Scans 2024-03-05 0020 A newly completed Comeng train (wearing VicRail teacup orange) on the factory access track at Comeng Dandenong c. 1981 Comeng Scans 2024-03-05 0021 A newly completed Z3 class tram on a transporter, with its bogie frames waiting transport to Preston Workshops for final fitout and commissioning c. 1981 Comeng Scans 2024-03-05 0022 A Comeng/ABB artist impression presumably part of their bid for the Double Decker demonstrator train for Melbourne. Note the similarity to similar Comeng sets constructed for Sydney. c. Nov 1989 – April 1990 Comeng Scans 2024-03-05 0023 Victorian Railways steam locomotive K 169 on static display at Coal Creek. c. 1980s Comeng Scans 2024-03-05 0024 Comeng suburban train carriage 1190T on a traverser in the yard at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0025 Comeng suburban train carriages the yard at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0026 Comeng suburban train carriages the yard at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0027 Comeng suburban train carriages the yard at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0028 Comeng suburban train carriages the yard at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0029 Comeng suburban train in a shed at Comeng Dandenong. c. June-July 1989 Comeng Scans 2024-03-05 0030 Comeng suburban train carriage 1190T on a traverser in the yard at Comeng Dandenong – possible Factory Acceptance Inspection by the Met c. June-July 1989 Comeng Scans 2024-03-05 0031 Comeng suburban train carriage 1190T being tractor-shunted in the yard at Comeng Dandenong – possible Factory Acceptance Inspection by the Met c. June-July 1989 Comeng Scans 2024-03-05 0032 Two Comeng workers carry a train part (possibly a first aid kit) for fitting to a Comeng suburban train. c. June-July 1989 Comeng Scans 2024-03-05 0033 Comeng suburban train carriage 1190T on a traverser in the yard at Comeng Dandenong – possible Factory Acceptance Inspection by the Met. One of the Met staff appears to be giving one of the Comeng workers a kiss on the cheek. c. June-July 1989 Comeng Scans 2024-03-05 0034 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops; while what appears to be a classic AP6 Valiant Safari Wagon is in the foreground. c. June-July 1989 Comeng Scans 2024-03-05 0035 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops; while a worker poses for a photo with his hand on the rigging. c. June-July 1989 Comeng Scans 2024-03-05 0036 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops; An HT Holden Belmont sedan has been posed in front to appear as if it is towing the heavy vehicle. c. June-July 1989 Comeng Scans 2024-03-05 0037 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops; An HT Holden Belmont sedan has been posed in front to appear as if it is towing the heavy vehicle. c. June-July 1989 Comeng Scans 2024-03-05 0038 A1 Class tram 232 is pictured up on stands while various A/B class tram cab frames are in the foreground in various stages of assembly. Of note, 232 appears to have been returned to Dandenong for major repair or other work, and shows signs of having been in traffic for some time (weathering and wear) c. June-July 1989 Comeng Scans 2024-03-05 0039 various A/B class tram cab frames are in the foreground in various stages of assembly. c. June-July 1989 Comeng Scans 2024-03-05 0040 A group of Comeng Dandenong workers stopped on a tea break. c. June-July 1989 Comeng Scans 2024-03-05 0041 An A/B Class tram cab being fitted out with electronics and controls. c. June-July 1989 Comeng Scans 2024-03-05 0042 A new Comeng suburban train in Metropolitan Transit livery on the test track at Comeng Dandenong. c. mid 1980s Comeng Scans 2024-03-05 0043 A new Comeng suburban train in Metropolitan Transit livery on the test track at Comeng Dandenong. c. mid 1980s Comeng Scans 2024-03-05 0044 Interior shot of a new Comeng suburban train at Comeng Dandenong. c. mid 1980s Comeng Scans 2024-03-05 0045 Interior shot of a new Comeng suburban train at Comeng Dandenong. c. mid 1980s Comeng Scans 2024-03-05 0046 The exterior sign at Dandenong showing ABB brand. Early 1990s Comeng Scans 2024-03-05 0047 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops. Early 1990s Comeng Scans 2024-03-05 0048 The Brush generator and Paxman Valenta engine as fitted inside a new XP power car for NSW Countrylink (paid for by Victoria) c. 1992 Comeng Scans 2024-03-05 0049 An exterior shot of a new Countrylink XP power car for NSW under construction (paid for by Victoria) c. 1992 Comeng Scans 2024-03-05 0050 Two new XAM class XPT sleeper carriages under construction at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0051 A B2 class tram under construction at Comeng Dandenong Early 1990s Comeng Scans 2024-03-05 0052 A B2 class tram under construction at Comeng Dandenong Early 1990s Comeng Scans 2024-03-05 0053 An exterior shot of a new Countrylink XP power car for NSW being moved out of the shed c. 1992 Comeng Scans 2024-03-05 0054 An exterior shot of a new Countrylink XP power car at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0055 An exterior shot of a new Countrylink XP power car at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0056 An exterior shot of a new Countrylink XP power car at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0057 B2 class trams under construction at Comeng Dandenong Early 1990s Comeng Scans 2024-03-05 0058 An XP Powercar from NSW wearing the Intercity XPT Candy Livery at Comeng Dandenong. It is not known if this was originally painted in this livery (incorrectly) or if this was one of the first delivered series transported to Dandenong to aid the construction process of the four additional locomotives. Early 1990s Comeng Scans 2024-03-05 0059 Melbourne B2 Class tram B2.2100 (renumbered from 2102) painted in the distinctive Chocolate and Cream livery to mark the completion of 100 B2 class trams Early 1990s Comeng Scans 2024-03-05 0060 A factory forklift wearing a hand painted “We love Labo(u)r” cardboard sign, possibly in connection to a media event with the Victorian Premier onsite at Comeng Dandenong. c. 1992 Comeng Scans 2024-03-05 0061 An exterior shot of a new Countrylink XP power car at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0062 Two new new Countrylink XP power cars under construction and final fitout at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0063 An exterior shot of a new Countrylink XP power car on the traverser at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0064 A B2 Class tram is on a low-loader multiwheel transport trailer waiting transport to Preston Workshops. A large banner is draped on the side explaining that this is the 106th vehicle delivered to the Public Transport Corporation (B2.2108). c. Oct 1992 (based on delivery date) Comeng Scans 2024-03-05 0065 Victorian Premier Joan Kirner addresses a group of dignitaries in front of an ABB banner inside the main administration building at Dandenong, on the occasion of the first XPT power car purchased by Victoria being unveiled at a media event c. 1992 Comeng Scans 2024-03-05 0066 An ABB executive addresses a group of dignitaries in front of an ABB banner inside the main administration building at Dandenong, on the occasion of the first XPT power car purchased by Victoria being unveiled at a media event c. 1992 Comeng Scans 2024-03-05 0067 Victorian Premier Joan Kirner addresses the media in front of a completed XP class XPT power car at Dandenong, on the occasion of the first XPT power car purchased by Victoria being unveiled at a media event c. 1992 Comeng Scans 2024-03-05 0068 An exterior shot of a new Countrylink XP power car at Comeng Dandenong c. 1992 Comeng Scans 2024-03-05 0069 A Melbourne B2 class tram undergoing testing on the test circuit at ABB Dandenong c. early 1990s Comeng Scans 2024-03-05 0070 An XPlorer type DMU emerges from a shed at ABB Dandenong c.1994 Comeng Scans 2024-03-05 0071 Voith final drive axle mounted units for XPlorer railcars waiting to be fitted at Dandenong. c.1994 Comeng Scans 2024-03-05 0072 A completed XAM class sleeper carriage at ABB Dandenong. c.1993 Comeng Scans 2024-03-05 0073 Completed XPlorer railcars wait transfer to South Dynon for bogie exchange and transfer to NSW at ABB Dandenong. c. 1994 Comeng Scans 2024-03-05 0074 A clipping from an ABB internal newsletter outlining the staff-led initiative to commemorate the 100th B2 class tram with a special livery c.1992 Has photographs of ABB, Steamrail tours, Castlemaine and Maldon Railway, Fying Scotsman 4472 visit and Puffing Billy.Yields information about the people and events at Commonwealth Engineering plant Dandenong and the activities of the unknown compiler.Album containing 40 leaves, photos in a heavy card 3 ring spring binder.comeng, commonwealth engineering co., tramcars, hong kong, nsw, sydney, melbourne, railways, the met, b class, cmr, steam engines, abb, asea brown boveri

A group of 26 photographs collected by Ralph Andrews, father of Michele Spencer donor. Michele sent the photographs with a covering letter explaining how her father had kept to collection for many years so she felt they should go to a good home for safe keeping. Michele's husband's uncle, Frank Spencer, was the Post Master at Cowes for many years.219-01. Photograph of lady standing on rocks at San Remo 219-02. Photograph of rocks at Back Beach San Remo 219-03. Photograph of rocks at Back Beach San Remo 219-04. Photograph of the San Remo Camping Ground 219-05. Photograph of Merv Horkings in tent at San Remo Camping Ground 219-06. Photograph of Merv Horkings in tent at San Remo Camping Ground 219-07. Photograph of three men on the beach at San Remo 219-08. Photograph of coastal scene San Remo at low tide 219-09. Photograph of rocks at San Remo 219-10. Photograph of shoreline with trees at San Remo 219-11. Photograph of Jetty at San Remo with boats moored 219-12. Photograph of the back view of a man on the beach at San Remo 219-13. Photograph of coastal scene looking towards the eastern entrance to Westernport 219-14. Photograph of Merv Horkings standing outside a tent at the San Remo Camping Ground 219-15. Photograph of people standing and sitting on rocks at San Remo 219-16. Photograph of coastal scene looking towards the eastern entrance to Westernport 219-17. Photograph of foreshore with rocks and lonely tree on land at San Remo 219-18. Photograph taken from San Remo looking towards Newhaven with breakwater. 219-19. Photograph of rock platform at San Remo 219-20. Photograph of coastal scene at San Remo 219-21. Photograph of the breakwater at San Remo 219-22. Photograph of a man sitting on the beach at San Remo with groyns on the foreshore 219-23. Photograph of coastal scene at San Remo 219-24. Photograph of coastal scene at San Remo 219-25. Photograph of the San Remo Punt 219-26. Photograph of a vehicle waiting for the Punt to travel across to Newhavensan remo coastline, san remo punt, newhaven-san remo punt, san remo camping ground, ralph andrews, frank spencer, michele spencer

AUSTRALIAN LANDSCAPE ART. A FINE COLLECTION. The late Mr. Walter Withers was one of the little band of landscapists that Included Streeton Condor, who pioneered the "plein-airiste" movement In Victoria thirty years ago. Mr. Withers had been trained in Paris, but practically all his artistic life was spent in Australia, and examples from his easel are to be found in all the leading Australian galleries. He belonged to a brilliant little coterie of men whose works have since been eagerly sought for at ever-rising prices. And now collectors have an opportunity of acquiring examples of his art for a thoroughly characteristic collection of his work, both in oils and in water-color, will be open to-day In the fine art gallery at Anthony Horderns', in George Street. The collection includes 28 paintings in oil by the late Mr. Walter Withers, and 32 of his water-color drawings, while smaller collections by his daughter, Miss Margery Withers, and by his son, Mr. Meynell Withers, are also added. Among the landscapes in oils by the deceased artist may be seen examples of many moods, and also many phases of his artistic development. At different times he was a realist, a romanticist, an idealist. In his fine picture "The Easter Moon" the emotional appeal to the homing instinct is direct and compelling. This delightful work, low in tone and charming in its feeling of repose, suggests the sentiment of Gray's "Elegy." Entirely different in range, intention, and feeling, are two brilliantly-painted pictures entitled "The Young Gardener," and "The Dividing Fence," Mr. Withers here displays an unusual gift for placing effective notes in an admirably harmonised color scheme. "Sunlight in the Forest" is a pastoral poem in color. Most of these pictures were painted in the Eltham or Warrandyte country, while the "marines" are impressions at Phillip Island or on the shores of the bay. The artist was well equipped with technical knowledge and experience. His pictures are full of air and sunlight, and his realisation of cloud-forms is most convincing. The watercolor drawings which he did in the full maturity of his powers have, a softness, richness, and depth of color quite unusual. His son, Meynell Withers, shows a collection of landscapes of striking merit, recalllng his father's handling of color and selective taste In composition. Miss Margory Withers shows a charming group of watercolor portraits, and also some meritorious landscapes. The pictures have been hung with fine artistic discrimination in the grouping of the subjects, and so skilfully that in each group an essential harmony of tone has been preserved. The exhibition will be open to the public from to-day. AUSTRALIAN LANDSCAPE ART. (1918, November 18). The Daily Telegraph (Sydney, NSW : 1883 - 1930), p. 4. Retrieved August 22, 2023, from http://nla.gov.au/nla.news-article239575164Journal inscribed: "Mrs Withers 463 Collins St. West Melbourne"art exhibition, art review, artist, john withers collection, walter herbert withers

Shire of Eltham Archives: Series 69, Item 7 Opens with aerial views of the Shire, 85% of the shire covered by the Green wedge principal. Discusses the obligations required of the Shire to maintain the Green Wedge. The Shire covers over 27,000 hectares with a population in excess of 45,000 residents, more than 70% living in the southern 10% of the Shire in suburbs of Eltham, Montmorency, Lower Plenty and Research. 85% of the Shire in the more sparsely populated northern area which is covered by the Green Wedge. Council is committed to providing a parity of services to all residents such as garbage collection and maintenance of roads. Views of rubbish collection trucks in Montmorency. It is emphasised that the cost of these services in highly populated areas is relatively low whereas in the sparsely populated Green Wedge areas, considerable. There are hundreds of kilometres of roads throughout the Shire, many unmade and maintenance is high to check overhanging trees and erosion especially on the steep hills is expensive and disproportionate to servicing the population in the dense urban areas. Shows views of hilly gravel roads and graders at work maintaining them. Shows scenes of assessing planning applications in these rural areas which takes significantly more time as well as other services provided such as Meals on Wheels, building permits, Ranger services. Provision of recreational facilities in hilly areas requires the acquisition of expensive river flats (views of cricket ground surrounded by hills) and where not possible, costly earthmoving required. Also, views highlighting extensive tracks of natural habitat home to significant bird, animal and plant life. Shire emphasises its commitment highlighted by the Eltham Copper Butterfly which the Shire maintains small pockets of bushland to ensure its survival at significant expense (views of Pauline Toner Copper Butterfly Reserve.) Short interview with Pat Vaughan, Environmental Officer for the Shire discussing the Eltham Copper Butterfly who also mentions many other species in the Shire of high significance from bats to mammals to plants as well as the importance of the Green Wedge to Melbourne – the lungs of Melbourne - and ensuring the protection of very important habitat which requires a great deal of planning and management to look after. Views of Wingrove Park to emphasise this maintenance by machinery in some areas is too damaging and introduced species, etc must be removed by hand. Balancing the services and facilities expected by the community with the needs of the environment requires careful planning demands requires careful planning and the principals of the Green Wedge require constant attention in the face of growing need for housing. Director of Planning & Environment, Richard Allen advises there are approximately 1,300 planning permits and development applications each year ranging from simple subdivision, boundary realignments to further complicated non-urban developments for agricultural pursuits and the level of expertise required from architectural and engineering to land degradation, flora and fauna. Video finishes with aerial views and parklands, streetscapes and rural areas. VHS Video cassette Converted to MP4 file format 00:07:39; 89MBshire of eltham, video recording, shire of eltham archives, eltham shire council, eltham, building permits, cricket ground, development applications, eltham copper butterfly, garbage collection, graders, green wedge, lower plenty, meals on wheels, montmorency, pat vaughan, pauline toner reserve, planning applications, planning permits, ranger services, recreational facilities, research, richard allen, roads, rural areas, wingrove park, victoria grants commission

In 1848, 43-year-old John Clarke launched a cutlery business in Harvest Lane in Neepsend, Sheffield UK. Clarke entered the trade late in life he was indenture and apprenticed to Octavius Twigg, a razor maker. Clarke was granted his Freedom in 1856 and began using the trademark 'NEVA'. By the 1860s, Thomas Clarke's son by his wife Elizabeth had joined the firm. When John Clarke died at his home at Augusta Place, Rock Street, Sheffield on 25 July 1873 (aged 68), he only employed six workmen.  By 1881, Thomas had expanded this number to twenty.  He sold a wide range of cutlery and was also an ‘emigration agent’, the Sheffield Independent, of 7th September in 1886 had an article published stating Thomas helped to recruit personnel from England for cutlery centers in America.  In 1893 Clarke’s showroom displayed miniature knives from '5/16ths-inch long to the most expensive sportsman's knives, that were gold and silver mounted.  Table knives and carvers were also manufactured (or factored).  Agencies were opened in London, New York, and Melbourne.  Besides ‘NEVA, the ‘EXPRESS’ and ‘RING’ marks were used on razors; and Clarke’s marketed the American ‘GEM’ safety razor.  By 1901, the firm had moved to Mowbray Street, where its Mowbray Works overlooked the River Don. Thomas Clarke died at Harrogate on 26 April 1902, aged 62, and was buried in the same Burngreave cemetery as his parents.  Thomas’s sons, John Roome Clarke (1860-1925) and Thomas Edward Clarke, were directors, another son George William Clarke was a shareholder. John Roome Clarke died on 3 February 1925, aged 64  his son, John Clarke, of Crimicar Lane, remained as the senior partner.  Clarke’s was one of the last producers of hand-made pocket knives and it also produced a large output of sheath knives for scouting associations. The firm was liquidated in 1964, but the company name was resurrected and Its last address after 1980 was at 65 Garden Street Sheffield.  The company trademark passed on to Meteor Industries and then to Egginton Ltd. Weber & Co: The Clarke company purchased or (factored) many of its blades for razors and knives from Weber & Co of Solingen Germany. The full name of the firm originally was Jowika Stahlwarenfabrik Eugen Weber & Altenbach KG. It was founded in Solingen prior to 1928, under the name Johann & Wilhelm Kleinewefers GMBH, Messerfabrik. JWK for short, hence JoWiKa. The company was sold to Eugen Weber in the 1930s. Weber was married to a woman named Altenbach, from a family that manufactured innovative low-priced pocketknives, as well as other cutlery items. In 1960 Weber opened a branch factory in Listowel Ireland. It was sold to Albert M. Baer of Imperial Schrade in 1978. The Listowel factory was closed about a year and a half before the U.S. Schrade factory closed in 2004 and the Jowika factory in Solingen had closed in 1984.An item with an interesting manufacturing history from the 1930s showing how one man can grow a business into a successful concern that made quality products that stand the test of time.Razor metal folding blade with horn handle in its original cardboard box Inscription Made by John Clarke and Son England. "Champion" razor. On box " The Champion 10/6d" and "Weber Lohmann & Co SOLINGEN".flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

O.F.M. was the ORDNANCE FACTORY MARIBYRNONG. Up to the end of June 1943 and at a time when the wages were about £5 ($10) to £6 ($12) per week Australia had spent £1,106,000,000 (£156 per head) on the war effort. A lot of the money was spent at home in making war necessities such as armaments, munitions, boots, clothing, and in providing special training. Significant increases in numbers occurred in the personnel employed in the fighting services, and also in the work force involved in the war effort. During the financial year 1942-1943 the war cost Australia £561,743,000 (over a billion dollars), while the Income Tax raised from individuals totalled only 16.5% of this amount. To finance the war the Australian government had previously borrowed money from the public, and from institutions such as the savings banks, friendly societies, and life assurance societies, by running three successfully subscribed Liberty Loans. The institutions had contributed considerably more money to these Liberty Loans than the public, however it can be argued that the public members of these institutions had also contributed some money indirectly. The 4th Liberty Loan which opened on 5 October 1943 and closed on 9 November 1943 was intended to raise £125,000,000, with the government aiming for 750,000 subscribers. Bonds costing £10 each could be bought on a time payment scheme. A total of £126,408,000 was raised at two different interest rates and maturity dates, however the number of subscribers had only reached 567,533. Some newspaper reports of the time indicate that the low number of subscribers was a partial failure of the loan, because spare money in the community could lead to inflation at a time when goods were in short supply. The government set target quotas on how much money should ideally be raised in a particular district, and how many subscribers should ideally take part. Often these quotas proved to be excessive. The Special Red Pennant Award as given to the No 1 FORGE O.F.M. was normally for achieving the highest per capita contribution within each particular group. What is unknown at this stage is what other entities were in the same group, or how large the group was. There were other variations of the awards such as those given to country districts, where a star was placed on the left hand corner of the pennant if the money quota was reached, while two or three stars indicated that the quota was doubled or tripled. A bar was also included on the pennant if the quota of subscribers was achieved, while two bars indicated double the quota of subscribers. The above information was sourced from Trove newspaper articles at: (1) http://nla.gov.au.nla.news-article70439716, (2) http://nla.gov.au/nla.news-article141292541, (3) http://nla.gov.au/nla.news-article11797265, (4) http://nla.gov.au/nla.news-article11788072, and from (5) http://static.awm.gov.au/images/collection/pdf/RCDIG1070158--1-.PDF (see page 580).This framed award has significance in that it serves as a historic reminder that the No 1 Forge O.F.M. and the Ordnance Factory Maribyrnong once existed within the Shire of Braybrook, and later the City of Sunshine, and that it was involved in the manufacture of ordnance for World War 2. It also serves as a historic reminder that it costs a huge amount of money for a country to be involved in a major war, and that a big contribution is required from the public to raise money and to produce goods for the war effort.Permanently sealed brown stained wood frame with a glass face. Enclosed behind the glossy glass is a triangular shaped pennant made of red felt material. The red colour appears to be somewhat faded. The inscriptions and markings on the pennant are in blue, gold, and white coloured inks.The AUSTRALIAN COAT OF ARMS diagram plus the following writing: SPECIAL AWARD / 4th LIBERTY LOAN / Oct.-Nov. 1943 / No 1 FORGE O.F.M.4th liberty loan, special award, ordnance factory maribyrnong, no 1 forge o.f.m., oct - nov 1943, red pennant

These four photographs were taken at Bones Day, an annual sports competition between the Army Survey Regiment and the RAAF School of Radio at Bendigo c1982. The two units took turns each year to host the event. The day competition usually comprised basketball, cross country, golf, sailing, squash, softball, tennis, touch football, rifle shooting, tug-of-war and volleyball. The two sports featuring in these photos are touch football and tug-of-war. The “big bone” trophy comprising a large bone from a beast housed inside a wooden framed glass case, was awarded to the winner of the day competition. The evening competition often included darts, carpet bowls, hookey, quoits and billiards/snooker. The “little bone” (a mounted chicken bone) was the consolation trophy awarded to the winner of the evening competition. The 3-hour bus trip for the visiting unit on their return was typically very raucous. The history of the Bones Day competition is best described in the booklet titled - Bones of Contention Souvenir Program. 1965. Refer to Item 6267.These four photographs were taken at Bones Day, an annual sports competition between the Army Survey Regiment and the RAAF School of Radio at Bendigo c1982. The photographs are on 35mm negative film. They are part of the Army Survey Regiment’s Collection. The photographic negatives were scanned at 96 dpi. There are additional photos in this set that have not been scanned due to poor quality or low historical value. .1) - Photo, black & white, 1982, Touch Football Team Back Row L to R: Brian Fauth, Bruce Bowers, Bob Mason, Paul Baker, Danny Galbraith, John Hook, Scott Payne. Front Row L to R: Roy Hicks, Peter Imeson, Alan Glanville, John Gilbert, Wally Chilcott. .2) - Photo, black & white, 1982, Tug-of-War Team Back Row L to R: Cliff Webb, Peter Treble, John Lane, Andy Wilson, Rick Warren, Rusty Williams, Brian Paul. Front Row L to R: Brian Fauth, Rick Downie, unidentified, Ken Slater, Rhys De Laine, John Smith, unidentified. .3) - Photo, black & white, 1982, Tug-of-War Team L to R: Peter Treble, Brian Paul, Rusty Williams, Rhys De Laine, unidentified (2), John Smith. Army personnel in background standing L to R: Rick van der Bom, Paul Hopes, Ian Nelson, Mick Dempster, John ‘Flash’ Anderson, Geoff Havelberg, John ‘Stormy’ Tempest, Bruce Gordon, Dan Cirsky, Neil Jones, Gerry Gates, Peter Main, Bob Thrower, Barry Miller, Gill Park. Army personnel in background seated L to R: Roger Pearson, Mick Gillham, Penny Knott, Leanne Shirley. .4) - Photo, black & white, 1982, Tug-of-War Team L to R: Rick Warren, Cliff Webb, Andy Wilson, Peter Treble, Brian Paul, Rusty Williams, Rhys De Laine, unidentified. Army personnel in background standing L to R: Rick van der Bom, Ian Nelson, Mick Dempster. .1P to .4P – No personnel are identified.royal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, raaf school of radio, bones day

This dress is of uncertain provenance. BHS records indicate that it was owned by Marion Jane Ellen Devlin, nee Stokes (1845-1936), who married Oliver Devlin on 2 April 1877 in Victoria. The dress is believed to have been worn on the Bendigo goldfields circa 1878. It may have been worn as a wedding dress. However, additional documentation discovered in August 2019 suggest that the dress belonged to Margaret Cocking, nee Carr (1850-1936), who married Gustavus Cocking in Bendigo in 1877.A grey-green circa 1878 dress comprising a matching jacket and skirt. The jacket (.1) features a standing collar that gathers to a low point at the throat. This point is concealed behind a bow with raw edges which may not be original. The centre front of the jacket has been secured with nineteen concealed metal hook and button holes. The centre front features fifteen sets of single fabric covered glass buttons secured in a diagonal pattern and appearing as double headed buttons. From the shoulder through the body the jacket is shaped with decorative panels with grey silk detail. Beside these panels shaping into the waist and under the arm are a further two pleats. On the left side waist is a small pocket with decorative flap, grey silk trim and button. The base line of the jacket features a decorative horizontal panel that wraps around the jacket. The sleeve head is small and sits on the natural shoulder line with a slim fitting, curved, full length sleeve. At the base of the sleeve, there is a decorative panel reminiscent of a formal cuff, with a decorative turn back and two buttons. Secured underneath this turn back is a bow like decoration. From the back the jacket features a V shaped decoration, an extension of the front two decorative panels. From the shoulders the jacket is shaped by four panels curving tight into the waist and flaring out again to fullness of the bustle. These seams are also finished with decorative binding. This peplum-like shape features two decorative flaps and six covered buttons. The skirt (.2) is shaped to the waist with pleats and secures on the front left hand side, the original waistband and fastenings have been replaced. The skirt front features a large decorative panel of the same fabric that curves from the front at approximately shin length, upwards towards the back securing underneath the bustle decoration. A second panel, plus a pleated panel finish the hem of the skirt continuing around to the back. At the back the skirt features two deep pleats with a large decorative bow that would sit out over the bustle. The skirt is long featuring a small train at the back. The dress is lined in a brown waxed cotton.wedding dress, 1870s fashion, marion jane ellen stokes, oliver devlin, margaret carr, gustavus cocking, bendigo