Whitcombe's Vivid History Reader. Grade III. Myths, Legends and Stories of World History. Specially written to meet the requirements of the Social Studies (History) Course in Victorian Elementary Schools. Printed in 1944. The stamp of State School No. 1087, Barnedown on the first page top right. Contents: 1: Stories of the Stone Age. 2: Myths and Legends of the Greek World. 3: Hebrew Stories. 4: Stories of the Roman World. 5: Stories of Early Britain and the Days of King Arthur. 6: Stories of the Middle Ages. 7: Legends and Stories of the American Indians. Appendix A: things to do. Appendix B: the making of plays, pronunciation of proper name. The book has 136 pages.books, school, history

Textiles.Calico flour bag with the following printed on one side; ''Mammy'' oven puff, creamed self raising flour large bags, 25 lb net weight. When packed. Contains Vita-phos. The only creamed flour. Prepared with phosphate aerator. Manufactured by WATSON Milling Co. Pty. Ltd. 1097 Dandenong Road, East Malvern, Se5 Phone UL3131''. Centre front is a picture of an African-American lady holding a cake. Picture has a border of wheat sheaves. The boy has remnants of stitching used to close the top of the bag. Collection holds two other uncatalogued samples. 7lb bag has picture of three scones on one side.textiles, domestic, watson milling flour bag

Captain Mackenzie Luckie was born in 1821. From 1853 he commanded eight ships. He died on board the Michael Angelo off the coast of New Zealand in February 1875. After the ship arrived in Nelson, The Argus (Melbourne) reported on 12 February 1875 that Captain Luckie was found dead in his cabin, from heart disease. His appointed Attorney Mr George William Knight selected land in Sunbury in 1860 and then arrived in Bendigo on 2 April 1870. For more information about George William Knight see https://trove.nla.gov.au/newspaper/article/227853797?searchTerm=george%20william%20knightCaptain McKenzie Luckie  a. Document appointing George William Knight of Sunbury or elsewhere in the Colony of Victoria as a lawful attorney to act for Mackenzie Luckie of 15 Tredegar Square, Bow in the County of Middlesex (now London), Master Mariner. Dated 18 February 1862. Witnessed by William Charles White. Five page document - two blue flimsy sheets, one light card sheet and two grey flimsy sheets. b. Transcript from The Age (Melbourne) 27 November 1937. The letter from H. Daniel, Monte Video, South America, is responding to an earlier letter from the grand daughter of Captain Mackenzie Luckie. It includes a record of the career of Captain Luckie from 1853. captain mackenzie luckie, master mariner

A Wright & Ditson 'All American' model open throat tennis racquet. String whipping and paint around shoulders and around base of throat. On obverse, model name is printed across throat. On reverse, manufacturer name is printed across throat. Printed on right side of shaft is name of manufacturer and words: 'MADE IN USA/LICENSED UNDER/PAT. NO 1664466' and 'STRUNG BY'. Printed on left side of shaft: PATENTED/TOP FLITE CONSTRUCTION'. Handle spiral-wrapped with leather hand grip, with string whipping at top end of grip. End wrap missing. Butt cloth with manufacturer's trademark printed on it. Materials: Wood, Metal, Lacquer, Glue, Ink, Leather, Nylon, String, Painttennis

A Wright & Ditson 'All American' model wooden racquet with open throat and octagonal grooved handle. String whipping around shoulders, throat pieces and around base of throat. Leather end wrap. On obverse, model name appears as a decal atop throat on base of head. On both obverse and reverse the trademark, patent information and country of manufacture are printed on shaft. On reverse, Manufacturer name is printed as decal on base of head, above throat. Indistinct letters carved into handle,and into shaft. Instructions on side of throat state: BAL/FROM/THIS/POINT. On one side of shaft:WRIGHT & DITSON/MAKERS/MADE IN U.S.A. and further down:STRUNG BY. Materials: Wood, Gut, Metal, Lacquer, Glue, Ink, Leather, Stringtennis

A Wright & Ditson 'All American' model wooden racquet with open throat and octagonal grooved handle. String whipping and plastic reinforcements around shoulders and base of throat. Leather end wrap and butt cap. On obverse, model name appears as a decal atop throat on base of head. On reverse, manufacturer name is printed as decal on base of head, above throat. Instructions on side of throat state: BAL/FROM/THIS/POINT. On one side of shaft:'WRIGHT & DITSON/MAKERS/MADE IN U.S.A./LICENSED UNDER/PAT.NO.1664466' and further down:'STRUNG BY'. On other side of shaft:PATENTED/TOP FLITE CONSTRUCTION. Materials: Wood, Gut, Metal, Lacquer, Glue, Ink, Leather, String, Plastictennis

Set of six pamphlets about the Edison storage battery system and associated rail or tramway related vehicles. Was promoted by various people, but internal combustion engines were found to be superior overall at the time.Yields detailed information about the use of the Edison battery storage system in railways.Set of five pamphlets regarding the Edison Battery Car. Was a proposal put forward to the operators of the Beaumaris Tramway Co. 1 - four page - "Edison Battery Car" - operating exhibit at American Railway Association Convention - 1920 2 - four page - ""Operations, Maintenance and performance of storage battery cars on the long island railroad" 3 - two page - "Storage battery cars for Mexican Railroad" 4 - four page - "Storage Battery cars on the Canadian National" 5 - four page - "Edison - Goodman Electric Storage Battery locomotives in New Zealand" - Christchurch 6 - one page - letter - from W Dobson of the Cambria & Indiana Railroad Co. re the use of such cars and their results.Have the stamp of the "The Southern Electric Power Co. of Gilbert Place Adelaide" and "E F Ablitt Mechanical Engineer, Melbourne"battery tramcars, edison, battery systems, new zealand, railways

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, 6 Sturt St Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .2) A tintype portrait of two girls heads, attached to a card. The girls are wearing a cloak with a large bow at the frontlittle gem, women, children, photography, tintype

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .4) A tintype portrait of a man, attached to a card. little gem, tintype, man, unidentified man

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a child, attached to a card. little gem, child, hat

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a woman's head, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .9) A tintype portrait of a child's head and torso, attached to a card. The boy is wearing a suit and the cheeks have been hand coloured.little gem

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, 6 Sturt St Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) A tintype portrait of a woman's head and shoulders, attached to a card. The cheeks have been hand coloured.little gem, woman, unidentified woman, women, photography

The tintype (or ferrotype or Melainotype) was produced on metallic sheet (not, actually, tin) instead of glass. The plate was coated with collodion and sensitized just before use. It was introduced by Adolphe Alexandre Martin in 1853. The most common size was about the same as the carte-de-visite, 5.5cm x 9.0cm, but both larger and smaller ferrotypes were made. The smallest were "Little Gem" tintypes, about the size of a postage-stamp, made simultaneously on a single plate in a camera with 12 or 16 lenses. They were often produced by travelling photographers, and were cheaper than Ambrotypes so made photography available to working classes, not just to the more well-to-do. The print would come out laterally reversed (as one sees oneself in a mirror). Being quite rugged, tintypes could be sent by post. Tintypes were eventually superseded by gelatin emulsion dry plates in the 1880s, though street photographers in various parts of the world continued with this process until the 1950s. (Above information abridged from http://www.rleggat.com/photohistory/history/tintype.htm) The firm of Gove and Allen opened in Sydney in 1880 and were responsible for the belated popularizing of the gem tintype in Australia. The firm traded as both The American Gem Studio and The American Studio. Others franchises were opened in Melbourne, Ballarat and Sandhurst (Bendigo). The Sandhurst branch closed in 1882 and Adelaide in 1884. All Gove and Allen studios had ceased trading by 1885. The studio addresses were: 23 King William St, Adelaide; 324 George St, Sydney; 95 Swanston St, Melbourne; Howard Place, Sandhurst; 7 Queen St, Brisbane; The card mounts used in Gove and Allen studios in Australia are identical to those used in America. They were initially made of plain white card with embossing around the oval image opening in the mount while some also had simple geometric and floral printed designs as well. Although Gove and Allen studios produced the majority of gem tintypes in Australia, other studios offered them including: - London, American & Sydney Photo Company, 328 George St, Sydney; - David Edelsten, 55 & 57 Bourke St, Melbourne; - Burman's Portrait Rooms, St. George's Hall, 209 Bourke St, Melbourne; - Bell's Gem Portrait Studio, 57 Bourke St East, Melbourne; - R. H. Kenny, Bridge St, Ballarat; - Marinus W. Bent, Sandhurst (Bendigo); - George Fisher, Victoria; - Anson Brothers, Hobart Town. (Abridged information from http://members.ozemail.com.au/~msafier/photos/tintypes.html) .5) A tintype portrait of a child, attached to a card. little gem, photography, child, portrait

This typewriter was used in the office of Zilles Printers, McKenzie Street Ballarat. The original Underwood typewriter was invented by German-American Franz Xaver Wagner, who showed it to entrepreneur John Thomas Underwood. Underwood supported Wagner and bought the company, recognizing the importance of the machine. The Underwood Typewriter Company washeadquartered in New York City, New York with manufacturing facilities in Hartford, Connecticut. Underwood produced what is considered the first widely successful, modern typewriter. By 1939, Underwood had produced five million machines.A typewriter in a leather carry case.typewriter, zilles, zilles printers

This bamboo fishing rod was used in the mid to late 1900's and demonstrates that local production of recreational fishing poles was at a high level and their demand was high. Imported recreational sporting goods from either the United Kingdom, the United States of America or Asia countries was due to the larger lead up times from these suppliers and the greater import costs from slower ocean supply ships. It was only after World War II that the trade influx from other countries has supplied cheaper goods. This recreational fishing pole is highly significant to the Kiewa Valley as it demonstrates that recreational fishing has been evolved from the need to supply a balanced diet by the early pioneer families of fish from the major Kiewa rivers. The ability of the Kiewa Valley rivers to provide a good fishing environment (high protein diet) for both early indigenous families and early pioneers was the important food source that provided for a balanced diet and the higher level of nutritious development of both body and mind. This two piece wooden fishing Rod is made from bamboo shafts or poles, one length thicker than the other. The smaller diameter shaft is the top end and fits into the longer thicker shaft at a stainless steel tube end.The smaller shaft has a stainless steel reinforcement ring where both shafts fit together. At the bottom end of the thick shaft is a black rubber "stopper" or "foot". There are two stainless steel rings, each with a reel holding "bulge" which allows for the the reel's "prongs" to be secured. The top ring has a greater diameter allowing it to move up and down the shaft/pole to secure the top "prong" firmly onto the shaft/pole.recreation, river, rod, fishing, industry, fish

This book is the definitive history of the surf travels by Peter Troy. Troy's travels are the stuff of legends. An original and influential figure in the early days of surfing at Bells Beach, Troy left Australia in 1963 and roamed the planet with surfboard under arm from Europe to Hawaii, South America to South Africa, introducing surfing to Brazil and discovering untold perfect waves like Nias off the coast of Sumatra. He documented every step of this remarkable journey in letters home which were rediscovered after his untimely death in 2008.This book represents the major surf travel history of one of the great legends in world surfing Peter Troy from Torquay. In 1962 Troy was one of the founders of the Bells Beach Surf Contest, the longest running surf contest in the world. He was an intrepid surf traveller who during the period 1963-1966 introduced surfing to the country of Brazil and explored the four corners of the globe for waves. This book is a unique record of world travel by surfer(s)during this period.Full colour, hard bound travel surf book by Peter Troy OAM, edited by Brendan McAloon. Colour cover image of a young Peter Troy by Rennie Ellis.ISBN - 978-0-9808480-0-7torquay, rod brooks, surf, bells beach, peter troy, rennie ellis, hawaii, nias, vic tantau, terry wall, bells beach surf contest, brazil, world surfing championships, biarritz, european surfing championships, flying pineapple media, sean doherty

Born 7 November 1906. Graduated from Princeton University 1928 with a BA, and from Princeton Theological Seminary in 1932 with a Bachelor of Theology, From 1928 to 1929 he taught at the Forman Christian College in Lahore. In 1935 was minister in the Presbyterian Church in America, holding pastorates in New York City and Albany. In 1951 to 1958 clerk of the General Assembly of the PCUSA President National Council of Churches. General Secretary of the World Council of Churches 1966 to1972. He died aged 78 July 31 1985.B & W head and shoulders photograph of Dr Eugene Carson Blake, wearing suit and tie.eugene carson blake; presbyterian church of the usa; world council of churches general secretary; president national council of churches usa

Robin Boyd was involved in creating several TV series for the ABC University of the Air. 'Design in Australia' was an eight part series. (Items D184-D193 contain all the manuscripts except part six titled 'Communications'.) In Part 2, through a brief discussion of the history of Australian houses, both urban and rural, Boyd points out distinct Australian qualities that differentiate the domestic houses from their European and American origins. Boyd believes that the Australian suburban villa is authentically vernacular in the sense of social phenomenon.This is a draft script for the ABC television program 'University of the Air', subtitled 'Design in Australia', broadcast in 1965.Typewritten (c copy), foolscap, 16 pagesuniversity of the air, design in australia, robin boyd, private home, homesteads, australian home, suburban villa, vernacular, manuscript

The Yokohama Diving Company was established in the early 20th century. Their helmets were initially inspired by the english Siebe Gorman helmets which they manufactured in a smaller size. This also resulted in a smaller volume helmet allowing the divers to use less lead weights when diving. In the early nineteen sixties Yokohama became involved in manufacturing their own helmets but in a different design after american diving equipment manufacturer Robert Kirby had rebuilt several Yokohama helmets into a more practical / modern design. Yokohama is no longer in business.A 1950s era heavy duty diving suit used in pearling and salvage work.A Japanese manufactured diving suit used in pearling and salvage work in the 1950s.Yokohama Diving Appratus Co Ltd. No.760. Made in Japan.diving suit, commercial diving, pearling, salvage

Anna ZAMORSKA (b.08.03.1942- ) Born Poland. Lives Wroclaw. Anna Zamorska graduated from the Wroclaw Academy of Fine Arts in 1965. In 1984 she undertook a six residency at Gippsland Institute of Advanced Education, Churchill (later Federation University) and participated in the Ceramics Symposium "Strzelecki Spotkanie". Her works are in museums throughout Europe, the Americas, Japan, Taiwan and South Korea. Since 1974, the artist has been a member of the International Ceramics Academy (IAC) based in Geneva / Switzerland. Fireclay Chair.anna zamorska, ceramics, jan feder memorial ceramics collection, gippsland campus, strzelecki spotkanie, chair

Keith Jones - gifted by Mary Jones upon his death1967, headteacher, keith jones1967, headteacher, keith jones

Dorothy Berry paints and draws with great energy, using vibrant colours and thick, gestural strokes of paint and pastel. Her work is usually a form of portraiture, often depicting women or birds. In this portrait, Berry has depicted the late American jazz singer Billie Holiday. Berry has been a regular studio artist at Arts Project Australia since 1985. Arts Project Australia supports artists with intellectual disabilities through their studio and gallery, promoting artists’ work and advocating for their inclusion in contemporary art practice.

Photograph of Charing Cross Bendigo with three trams in the view and a number of horse drawn cabs. Has Town Hall and other buildings in the background. Title of the postcard is "City of Bendigo, Victoria" In corners "State of Victoria" and "Australia" On rear of postcard are the words "The Commonwealth of Australia, Victoria Welcomes, The American Fleet Postcard", with the State of Victoria seal/symbol, place for a stamp, correspondence and address. Issued for the visit of the Great White Fleet, USA, 1908. See Google for the timing of the visit. See item 9081 for a similar photograph with a different crop.Demonstrates an item produced for the visit of the American fleet in 1908.Printed black and white postcard divided back unused.trams, tramways, bendigo, the great white fleet, charing cross

Photograph of Swanston St looking north from Flinders St. There is one cable tram set in the view along with many horse-drawn vehicles, bicycles, and many pedestrians. In the background is part of Young and Jackson's Princes Bridge Hotel, a sign for "New American system without pain Dentistry", Ayers Henry & Co. clothing, Stainer & Co., Keystone Elgin watches. Visible is an open wire telephone lines on poles. Photo c1900. Understood that the photo appears in the James Flood book of Melbourne photos.Yields information about Swanston St, c1900.Black and white photograph on paper.trams, tramways, swanston st, cable trams

The Union commenced as the Australian Tramway Employees Association in 1910. Changed its name in 1934 to the "Aust Tramway & Motor Omnibus Employees Association" so as to incorporate bus drivers of motor omnibuses. Union members were issued with badges to indicate their membership. They were permitted to be worn on their uniforms. See item 5943 for another example. Wearing of Union badges in Brisbane Tramways was a major source of industrial action in 2012 - see "One American too many" by David Burke, published 2012 by the Queensland Museum.Demonstrates a badge issued to members of the ATEABadge - Australian Tramway Employees Association (Tramways Union) badge. Badge made on a brass backing with words "Australian Tramway Employees Association" on outer edge of badge with a royal blue enamel background. In centre of badge has the Australian coat of arms with a railway type spoke wheel above the logo and underneath the coat of arms the words "Federated Australia" in a banner. tramways, trams, badges, personnel, unions, employees, atea

Items in the collection relating to ARTHUR GEORGE HOLLEY no 13556 RAN Refer cat no 2134 for his service record. The photographs are from his personal album, and are mainly official photographs widely available among the services. The photographs are from Australian , British and American sources. This set coincides with the Hobart's service around the time of the Battle of the Coral Sea, and her involvement in the Solomons and Guadalcanal landings. Whilst not taken personally, these photographs do capture some of the events Holley and his Hobart crewmates would have experienced and witnessed.Each description is preceded by an approximate date e.g.1940 06 is June 1940. 1. 1942 08 Solomons caption torpedo bombers two more on fire.jpg 2. 1942 08 Solomons high level bombers no hits Japs flew one thousand miles for this 054.jpg 3. 1942 08 Solomons caption there is no doubt this one being a Jap note marking.jpg 4. 1942 08 Solomons Dawn entering Guadalcanal Hobart Hoists battle ensign.jpg 5. 1942 08 Solomons fires started by bombing and shell fire.jpg 6. 1942 08 Solomons Fires started by gunfire and dive bombers .jpg 7. 1942 08 Solomons Guadalcanal HMS Exeter evading Japanese bombers February 1942.jpg 8. 1942 08 Solomons US Mugford hit by bomb.jpg 9. 1942 08 Solomons USS Mugford attacked by dive bombers caption shot down one bomber.jpg 10. 1942 08 Solomons USS Mugford attacked by dive bombers.jpg hmas hobart, arthur george holley ran, pacific theatre, solomons campaign, guadalcanal

Dwight James Baum is an American architect. He was born in 1886 in Newville, New York. As a young man, Baum moved to Syracuse. In 1909, he graduated from Syracuse University with an architecture degree. He worked for Boring and Tilton and Sanford White which are well known Architecture firms in America. Around 1912, he started his own residential design firm. During the 1920s, Baum designed a significant buildings and several houses in Sarasota, Tampa, Terrace, Temple and Florida all in the Mediterranean Revival Style such as the Ringlings dubbed Cà d'Zan, which is now known as the John and Mable Ringling Museum of Art. In 1923-1924, he also designed Sunset Hill for Mrs. Eugene D. Stocker at Warren, New York which was listed on the National Register of Historic Places in 2007. During the Depression Baum became involved with Good Housekeeping Magazine as consulting architect, and as designer of their building exhibit at the 1933 Chicago World's Fair. His later work includes Hendricks Memorial Chapel at Syracuse University, with John Russell Pope in 1929–1930 and the pedestal for V. Renzo Baldi's statue of Columbus in the city's Columbus Circle. Dwight James Baum died in 1939. Book with large blue hard cover. Title is written on the front cover and the spine in gold. Manufacturer's logo is written on front cover in gold. The book includes index, preface and an introduction. black and white illustrations, plates and floor planes of the architect's work such as Ca d Zan, the fantastical Venetian Gothic waterfront palace of John and Mable Ringling in Sarasota, Florida and the stately Italianate house of Anthony Campagna in Riverdale, New York and more.architecture, architectural designs, art moderne, domestic designs, ca d zan

Microscope were essential medical tools in diagnosing blood and tissue samples of patients. Microscopes were used at Ararat Mental Hospital from the time of its opening. The microscope is significant as an example of medical equipment used at the mental institution in the 1800's.This microscope sits in an flat tripod, much like the American style foot. It has an inclination joint. The mirror is on a double jointed arm, allowing oblique illumination and above stage illumination of opaque objects. The substage ring fitting can be removed to allow for extremely oblique lighting. Removing the ring is easy as it is fixed by a simple bayonet arrangement. Many microscopes had a bullseye condenser which attached to the stage, but this is lacking in this example, perhaps because the mirror can articulate above the stage. Coarse focus is by straight rack and pinion, fine by micrometer screw acting on the stem. There is an extendable drawtube which extends to allow optimal use of the objectives and a single objective and ocular are present. The microscope is missing pieces such as glass slides and two side braces.R & J Beck London Serial Number: 7925microscope, pathology, medical equipment, biospsy

Various documents from 'Box 511': a. 'Royal Family' - re filmed portrait of Queen Elizabeth II (1959); b. 'Scientific American', issue of April 1934; c. 'Band of Hope Review, 1867 - published in England (Baptist); d. 'Beautiful Britain' - Art Series No 6 - Scenery of the United Kingdom, m1894; e. as for d. but Series 10; f. as for d. but Series 11; g. as for d. but Series unknown (no cover); h. 'Hobart and Suburbs' = Aerial Survey Maps (street directory), 1954 - ex libris A. Richardson, 1959; I. 'Weekly Times Annual, Dec 10, 1931 - cover and pages missing; j. 'Table Talk Christmas Annual, Dec 3, 1923 (cover and pages missing)document