This photograph is one of a series taken by Allan while travelling through France in mid-1946. It was taken in the medieval city of Rouen, a city heavily damaged by the Allied bombings during the Battle of Normandy in May 1944 and shows a cob house, typical of the period. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.Black and white photograph of a historical building and street scape in Rouen.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is a mark "ItI"in pencil, written sideways.allan-quinn, photograph, rouen, france, ww2, battle of normandy, normandy, cob house, middle ages, medieval

This photograph is one of a series taken by Allan while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of a narrow laneway in Rouen, France, taken on the 5th of June, 1949. There is a narrow white boarder around the image.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is a mark "ItI"in pencil, written sideways.allan-quinn, photograph, rouen, france

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the port at Rouen, France, taken on the 5th of June, 1949. There is a narrow white boarder around the image.On reverse: PORT OF ROUEN / 5-6-49 handwritten in blue ink. Below this is the mark "ItI"in pencil.allan-quinn, photograph, port-of-rouen, france

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the facade of the City Council in Rouen, France, taken on the 5th of June, 1949. There is a narrow white boarder around the image.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI" in pencil.allan-quinn, photograph, rouen, france

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the down town area of Rouen, in France, taken on the 5th of June, 1949. A car is shown in the middle of the foreground, with people to the right and a road to the left. There is a narrow white boarder around the image.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI" in pencil.allan quinn, photograph, rouen, france, normandy, ww2, wwii, world war two, 1939-1945, parapluies, umbrellas, chaussures, shoes, car

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the Cathedral in Rouen, taken on the 5th of June, 1949. It shows three large arched doors, and a few people walking on the street in front of it.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI" in pencil.allan quinn, photograph, rouen, france, normandy, ww2, wwii, world war two, 1939-1945, cathedral, door

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of an inn door, in Rouen, France, taken on the 5th of June, 1949. Two small wooden monks are have carved into either side of the eaves.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI" written sideways in pencil.allan quinn, photograph, rouen, france, normandy, ww2, wwii, world war two, 1939-1945, half-timbered houses

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of a house "from the Middle Ages". The framework of the walls are exposed, and there are two pot visible at the bottom of the photograph. There is a narrow boarder of white around the image.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI" written sideways in pencil.allan quinn, photograph, rouen, france, normandy, ww2, wwii, world war two, 1939-1945, half-timbered houses

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of buildings in Rouen, France, taken on the 5th of June, 1949. The building in the foreground is intact, but most of the buildings behind it have been damaged by bombing.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "It" in pencil.allan-quinn, photograph, rouen, france

This photograph is one of a series taken by Allan Quinn while travelling through France in mid-1946. There are several letters relating to this journey.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the Great-Clock fountain (corner of Rue du Gros-Horloge and Rue des Vergetiers) in Rouen, Normandy, France, taken on the 5th of June, 1949.On reverse: ROUEN 5-6-49 handwritten in blue ink. Below this is the mark "ItI" written sideways in pencil.allan quinn, photograph, rouen, france, normandy, ww2, wwii, world war two, 1939-1945, fountain, gros-horloge, great-clock

Title: Musketry Regulations. Part II. Rifle Ranges and Musketry Appliances. 1910. (reprinted with amendments 31st October 1914). World War I. Military Manual.89p., plus illus. Hard cover. world war i, muskets, rifles, military manuals.

Leather bound black spine and cover corners with green cloth-covered board covers. Gold lettering and gold graphics on spine. Set contains volumes I-XXV, catalogued as 438.1 - 438.25. Vol I: Egypt & Mesopotamia (438.1); Vol II: Israel-Persia India-Pheonicia Asia-Minor (438.2); Vol III: Greece to the Peloponnesian War (438.3); Vol IV: Greece to the Roman Conquest (438.4); Vol V: The Roman Republic (438.5); Vol VI: Early Roman Empire (438.6); Vol VII: The Later Roman (438.7); Vol VIII: Arabs Crusades Papacy (438.8); Vol IX: Italy (438.9); Vol XI: France 843-1715 (438.11); Vol XII: France 1715-1815 (438.12); Vol XIII: France since 1815. Netherlands (438.13); Vol XIV: Netherlands. Germany (438.14); Vol XV: Germany (continued) (438.15); Vol. XXIII. The United States. Spanish America (438.23); Vol. XXIV. Turkey. Minor Eastern States. China. Japan (438.24).history, world history

Commemorates a visit to to Watsonia Primary school on 15th August 1995 by members of Watsonia RSL and members of the Army School of Music for a wreath laying ceremony.The ceremony was a part of the Australia Remembers celebrations commemorating the 50th Anniversary of the end of World War II.A black and white photocopy of a newspaper article featuring a large photograph of some ADF personel with school children.Some blue biro words at the bottom and the word "Watsonia" in pencil at the top right corner.watsonia rsl, watsonia primary school, army school of music, australia remembers

Handed out to patients and visitors to commemorate the visit of her Royal Highness Queen Elizabeth II and Prince Phillip to Victoria in 1954 and in particular the Heidelberg Repatriation Hospital. This brought much excitement to the patients at Heidelberg.Recognises a significant Royal visit to Heidelberg Repatriation Hospital. Acknowleges the role of the Hospital in the treatment of War Veterans to receive such a visit and World War II had ceased in 1945, only nine years earlier.Blue cardboard folder of 4 sides, with a single fold containing 1 photo and inscription. Photo is of Queen Elizabeth sitting down and Prince Phillip standing to the left of her in front of a fireplace, with commemorative acknowledgement of the visit.Page 1 shows the Commonwealth Emblem with the words "Royal Visit 1954" inscribed under it. Page 2 has the inscription " Memento of the Visit of Her Majesty and his Royal Highness The Duke of Edinburgh to Victoria 24th February, 1954 to 9th March, 1954 presented by the Repatriation Commission" over a crown and the letters EIIRbritish royalty, 1954, 1954 royal visit, royal visit australia, memento, australian coat of arms

Handed out to patients and visitors to commemorate the visit of her Royal Highness Queen Elizabeth II and Prince Phillip to Victoria in 1954 and in particular the Heidelberg Repatriation Hospital. This brought much excitement to the patients at Heidelberg.Recognises a significant Royal visit to Heidelberg Repatriation Hospital. Acknowleges the role of the Hospital in the treatment of War Veterans to receive such a visit and World War II had ceased in 1945, only nine years earlier.Blue cardboard folder of 4 sides, with a single fold containing 1 photo and inscription. Photo is of Queen Elizabeth sitting down and Prince Phillip standing to the left of her in front of a fireplace, with commemorative acknowledgement of the visit.Page 1 shows the Commonwealth Emblem with the words "Royal Visit 1954" inscribed under it. Page 2 has the inscription " Memento of the Visit of Her Majesty and his Royal Highness The Duke of Edinburgh to Victoria 24th February, 1954 to 9th March, 1954 presented by the Repatriation Commission" over a crown and the letters EIIRbritish royalty, 1954, 1954 royal visit, royal visit australia, memento, australian coat of arms

This copy of an original photograph created in the early 1900s details the "horse and cart" era when the normal transportation of the day was, in this rural setting, exclusively by horse and cart. The importance of this particular photograph to the subjects can be seen by the formal suits worn by both subjects.The natural bush and grassed backdrop have not been "touched up". The dray behind the horses is barely visible (fog like aperture). The lad , John Cooper was 14 years old when this photograph was taken. Both were in the process of harnessing four horses to "hook up" on the dray behind them. From their attire it looks like a trip to town or "the church".This photograph of life on a rural property in the early 1900 shows the rough and hard (physically) life in rural areas before great mechanical revolution/evolution post World War II. This was a time in the Kiewa Valley when most transportation was by horse drawn carriages and transportation routes where dirt roads with potholes. The significance of a local pioneer "family" encapsulated by this photograph cannot be reproduced as effectively in any other form. This digitised scanned copy of an original photograph of four work horses is on 200gms Fujicolor (Fujifilm) Crystal Archive paper has a silver side on which the image has been printed and a matt reverse side.The darker slightly "blurred" image has had a white frame placed over it at the time of encapsulation to provide the finished photo with a frame. This method highlights and focuses the view into the photograph. It is a clever way to permit the eyes to focus into the image to give it a greater third dimensional aspect. on the reverse side hand written(in pencil) "John Cooper & Paddy Cullen (itinerant worker) on grandfathers place (opposite Nesta Drews place) (orange Grove). "Grandfather emigrated from England with Ryders""orange grove " property, early tawonga life style, john cooper, paddy cullen, harnessing working horses

This historical family photograph spans three generations of the Cooper Family, a pioneer family, still residing in the Kiewa Valley. The large axe held by Pat was a handy tool for pioneer families to chop down trees for land clearing, building sheds and fences, outhouses and fire wood. This photograph was taken during a time where both male and females did some heavy lifting and processing. The rural sector at this point in time was physically a hard location for both sexes. The segregation of the sexes into specific job categories was some times non existent although household "chores" was in the main a woman's domain. The rural sector was in this point of time one which women were highly respected and the unwritten law of providing "assistance" and "reverence" by men in such actions as, socially opening doors, tipping the cap, offering a sturdy arm for support and refraining from doing or saying anything "uncouth" in a woman's presence. It was in a time when women's liberation was just starting to grow strength. Rural areas, on the hole, took longer to interfuse "city" hatched norms of behaviour. This photograph of a pioneer family still residing in the Kiewa Valley demonstrates not only the close protective environment that the valley has on all its inhabitants but also the close bonding that neighbors have towards each other. The term "God's gifted country" fits warmly with all the settlements in the valley. The relatively isolated (physically, visually and communications wise) has since post World War II been whittled away by faster and vastly improved communications with "the outside" world. The strength of commitment to the rural life can be seen in the faces of the family members in this photograph. The proud heritage is displayed without any external pressure. This large black and white family photograph is a reproduction on Fujicolor Crystal Archive Paper manufactured by Fujifilm. It is 200gsm matt finished paper with no borders. On the reverse side, written in pencil "Ted Cooper sitting aged 24-25, Pat Amery (Ted's youngest sister) holding Ted's eldest son Doug and Ted's father John Franklin Cooper(22-8-1892)"john cooper, ted cooper, pat amery, doug cooper, pioneer family kiewa valley

This book was produced in a period of time when Australians, especially those in rural areas referred to Britain as "the mother" country. It was a time when the transition from a colonial dominion of Britain to the status of an individual State through the Australian Constitution was quite apparent, except for the affection and respect of the majority of the population towards "their" Queen. It was a time when the Governor General (Queen's representative) were British born and picked. Australia had grown from a colonial status to an individual state. The feeling towards the monarchy is aptly demonstrated by the words from the High Commissioner for Australia, Sir Thomas White K.B.E., proposal for Australia to adopt the royal title "Elizabeth the Second by the grace of God of the United Kingdom, Australia and her realms and territories Queen, Head of the Commonwealth, defender of the Faith" Here faith implies the christian (Church of England) religion. In rural Australia the respect and admiration for the Queen was very high and all public offices, clubs and halls displayed a well positioned, large photograph of the Queen. The respect for British royalty was quite pronounced by the royal toast, offered before "official" proceedings commenced, and in the military flying the royal "blessed" colours.This book was donated by one of the founding families residing in the Kiewa Valley and is typical of the general feeling of respect and admiration felt by the rural communities towards the British Royal Family, especially towards Queen Elizabeth II. The rural slant towards any form of patriotism was along the lines of "Queen and Country", in that order. After World War II the social texture through multi-culturalism (especially in the Cities)moved away from this "motherland" bondage but it had taken a longer period to penetrate those rural sectors within the Kiewa valley and high plains areas. The great post World War II immigration of European refugees started a shift of numbers of Australian families whose parents were not born in Australia or had British family ties. The book represents a period in time where ties to Britain where a lot strong and entrenched in the social fabric of the Australian rural sector. The growing push for a republic is becoming stronger and stronger as the level of rural royalists deminishes.This item is a hard covered book of 200 pages including 8 pages in full colour and over 250 photographs covering the British royal family and in particular Queen Elizabeth II and her coronation. The external protective paper dust-jacket is in colour. Specific references to Australia appear on pages 9,36 to 41 and 97. The hard cover has a "off" white cloth textured (glued reinforced) cover over thick cardboard . The front and back pages depict the Royal investiture carriage with guards and footmen. Little cherubs are portrayed around the sheath holding the Royal Crown. Crowned lion and stallion sit at attention on either side of the carriage, with the Royal shield supporting their front legs.,The dust jacket is in full colour with the wording "The CORONATION BOOK of QUEEN ELIZABETH II" With a Pictorial Record of the Ceremony" The spin of the jacket (in gold print on a regal red background) "THE CORONATION BOOK OF QUEEN ELIZABETH II" on the bottom "ODHAMS" The cover has a pressed oval shaped double lined border enclosing a crown and the words Elizabeth R, below which is pressed 1953. The spine has the following words in gold coloured print "THE CORONATION BOOK OF QUEEN ELIZABETH II. The front, inside flap, of the dust jacket details the significance of what is contained within the book and the back inside flap has the contents and those personages who contributed. The back of the dust jacket has a brief review of three other books covering other aspects of British royalty and they are titled "THE DUKE OF EDINBURGH" ( a pictorial biography), "QUEEN MARY" (her life and times) and "ROYAL HOMES ILLUSTRATED" (with an essay on the royal palaces by A.L. Rowse.modern australian history, british royalty, queen elizabeth ii, coronation of queen elizabeth ii, australia's "mother country"

These educational publications covering a topical monthly theme and providing a slice "of the era" in general knowledge, was used by schools in Victoria as a basic starting point for a particular level of perceived knowledge. The general articles and extracts contained within, were not targeting a specific gender or socio economic sector but designed for all children at a particular stage of their development. This publication did have a format of: 1st page topical, e.g. ANZAC day scouting (U.N.), one page of regional Victoria, one page of poetry, one page of short stories, one page of world history and the last page of a song, complete with appropriate notes. These publications were produced during the second World War and made special references to it. This publication occurred during a period when the Education Department was highly authoritarian in its approach to State levels of learning. Fragmenting "special" schools like later "New Age" teaching methods and doctrines (home schooling) were repressed with considerable force.This binder full of monthly educational studies was particularly important to "hidden away" rural communities such as in the Kiewa Valley, especially at this point in time (World War II). The teaching methods used by local schools provided the necessary break through required by local school children to stop any adverse knowledge deficiencies due to factors of regional isolation. School children with in the Kiewa Valley would be able to integrate with children from all regions, weather in cities or larger towns. This hard cover (card) binder contains 11 monthly publications produced by the Victorian Department of Education for Grades 7 and 8 in the year 1947. Each issue has 16 pages with the cover page covering the major theme for the month. Each issue is placed within the folder by the folded middle page constrained by a thin cord. This is the only method to contain each monthly edition as they have no clasp or are stapled.The folder"SCHOOL PAPER COVER" underneath and to the left is a sketch of the world (revolving desk top stand) on top of a book and next to this "Name ------------ " underneath "Grade-----------" underneath "School---------" all enclosed by a thin border line.school paper, victorian education curriculum, education news letters, loose leaf educational binders

This unique postage stamp container, fashioned as a postal letter is from an era 1800 to early 1900, when items with no real bravado of wealth, were produced to satisfy the basic needs of their owners. A small yet "simple" postage stamp container made from silver would stand out but yet not that "vulgar". This was a period that flouting wealth was not done. This attitude changed when "old" wealth of property and titles moved to industrial and merchant "new" wealth merged.This item was introduced to the Kiewa Valley by a "genteel" woman who had come from "old" wealth in the "mother" country. In rural Australia such flashing of wealth or even "one up man ship" is frowned upon. The Kiewa Valley residents, in this time frame, would have reacted in a "true blue" manner. The significance of this item is that it highlights a time when the "Australian" heart was closely aligned to "mother Great Britain". These national bindings and self identity were only to last until World War II. The realisation of untying the national umbilical chord between Great Britain and Australia came when the United States of America provided its support and a closer bond developed. This container for postal stamps is fashioned as a letter. The lid(flap) is hinged to the main letter frame, allowing access to the contents (stamps). It is made of thin silver (sterling) with the silver markings on the inside of the flap. The folds on the opening flap side mirror the early dated letter envelope (glued on two sides, folded and glued on the third). The markings on the inside, clearly visible when the flap is open has the Assay Office Birmingham "anchor" stamped before the sterling silver "lion" mark. Stamped on inside flap "92" and "M" .Inside the letter facing the opener is the "Anchor" symbol and next to that the "Lion" symbolpostal stamp container, stamps, envelopes

This cigarette or pipe lighter was in use in the mid 1900's when the majority of users were men. Ladies did smoke but mainly not in "public" The activity was still regarded as a male activity. Middle to Upper "Class" of women nearly always had a gentleman "at hand" that would "light up" her cigarette. This was seen as a "social" activity only but later in the mid 1900's onward it was quite acceptable for both sexes to "smoke" at anytime.This type of lighter was male orientated due to the degree of lighting the flint with the horizontal movement required a strong thumb action across the lighting wheel. It is significant to rural areas such as the Kiewa Valley as the majority of men (especially during and after World War II) regarded smoking as a way to ease off the "tension" of hard work. The socio-economics of the Australian work place changed after the emancipation of women in the "workforce" after the World War II depleted the male workforce for the duration of the War and changed the Australian ethics of women in all aspects of both city and rural working "so called" male only occupations.This Polo Swift lift arm cigarette/pipe lighter has a chrome plated shell and is fueled by petrol. To operate this lighter you lift the "snuffer" arm exposing the wick, then scrape the flint wheel to create a spark from the adjacent flint(resting on the brass ignition wheel).At the bottom of the lift arm station "POLO". Each side of the lighter are "Art Deco line running from the top of the lighter to the bottom. Between these is a rectangular box with "diamond crossed lines"early hand lighters, smoking in the 1930's, cigarette lighter, tobacco, cigerettes, lighter

This cigarette or pipe lighter was in use in the mid 1900's when the majority of users were men. Ladies did smoke but mainly not in "public" The activity was still regarded as a male activity. Middle to Upper "Class" of women nearly always had a gentleman "at hand" that would "light up" her cigarette. This was seen as a "social" activity only but later in the mid 1900's onward it was quite acceptable for both sexes to "smoke" at anytime.This type of lighter was male orientated due to the degree of lighting the flint with the horizontal movement required a strong thumb action across the lighting wheel. It is significant to rural areas such as the Kiewa Valley as the majority of men (especially during and after World War II) regarded smoking as a way to ease off the "tension" of hard work. The socio-economics of the Australian work place changed after the emancipation of women in the "workforce" after the World War II depleted the male workforce for the duration of the War and changed the Australian ethics of women in all aspects of both city and rural working "so called" male only occupations.This Roller Beacon lift arm cigarette/pipe lighter has a chrome plated brass shell and is fueled by petrol. To operate this lighter you lift the "snuffer" arm(long roller lift arm) exposing the horizontal external flint tube, then scrape the flint wheel to create a spark (to light the wick) from the adjacent flint(resting on the brass ignition wheel).At the base to the left of the "filler" screw "PATENT No. 485037, 818155" underneath "REG. DES. N" on the filler screw "ROLLER REG" underneath "TRADE MARK". To the right of the "filler", "THE ROLLER BEACON MADE IN ENGLAND"early hand lighters, smoking in the 1930's, cigarette lighter, cigarette, tobacco

This nut roll tin was used in a period before 1959(when plastic containers started being used). It was a period when "home" cooking(desert & cakes) was the only method of having cakes and other pastry dishes in rural areas. The utensils available for this home cooking had to be strong and reliable and low maintenance. This nut roll can is very significant(in rural Australia) because it highlights a period in time when the majority of cakes and other pastry dishes were cooked in the family kitchen and not purchased from a shop. This was a period of self sufficiency especially in semi remote rural areas such as the Kiewa Valley. This was a time when cooking utensils were either made in Australia or imported from England or Europe. After World War II imports from the USA increased significantly and then followed by cheaper products from Asia.This cylindrical nut loaf tin(mild steel) has a removable lid and base. There are three retaining hooks which stop the spring steel "main body" from being condensed beyond the circumference of both top and bottom "lids" The tin is pliable enough to "open" up and allow the baked nut loaf to be removed.On the outside edge of each lid "NUT LOAF" and the opposite side "TIN"baking tins, kitchen utensils, tins