The Shire of Eltham Office was constructed in the late 1960s on the original site of Shillinglaw Cottage. Upon cessation of the Shire as a local government body following dismissal of councils by the Kennett Liberal Government in December 1994, the new Nillumbik Shire offices were located in Civic Drive, Greensborough. The Shire of Eltham office building was demolished and the site has remained vacant ever since. The three pine trees which featured in front of Shillinglaw Cottage and then the Shire of Eltham Offices remain standing on the vacant site as of 2017. Roll of 35mm colour negative film, 7 stripsKodak Gold 100-5eltham, main road, shire of eltham, shire of eltham office

The Shire of Eltham Office was constructed in the late 1960s on the original site of Shillinglaw Cottage. Upon cessation of the Shire as a local government body following dismissal of councils by the Kennett Liberal Government in December 1994, the new Nillumbik Shire offices were located in Civic Drive, Greensborough. The Shire of Eltham office building was demolished and the site has remained vacant ever since. The three pine trees which featured in front of Shillinglaw Cottage and then the Shire of Eltham Offices remain standing on the vacant site as of 2017. Roll of 35mm colour negative film, 7 stripsKodak Gold 100-5eltham, main road, shire of eltham, shire of eltham office

The Shire of Eltham Office was constructed in the late 1960s on the original site of Shillinglaw Cottage. Upon cessation of the Shire as a local government body following dismissal of councils by the Kennett Liberal Government in December 1994, the new Nillumbik Shire offices were located in Civic Drive, Greensborough. The Shire of Eltham office building was demolished and the site has remained vacant ever since. The three pine trees which featured in front of Shillinglaw Cottage and then the Shire of Eltham Offices remain standing on the vacant site as of 2017. Roll of 35mm colour negative film, 7 stripsKodak Gold 100-5eltham, main road, shire of eltham, shire of eltham office

The Shire of Eltham Office was constructed in the late 1960s on the original site of Shillinglaw Cottage. Upon cessation of the Shire as a local government body following dismissal of councils by the Kennett Liberal Government in December 1994, the new Nillumbik Shire offices were located in Civic Drive, Greensborough. The Shire of Eltham office building was demolished and the site has remained vacant ever since. The three pine trees which featured in front of Shillinglaw Cottage and then the Shire of Eltham Offices remain standing on the vacant site as of 2017. Roll of 35mm colour negative film, 7 stripsKodak Gold 100-5eltham, main road, shire of eltham, shire of eltham office

The Shire of Eltham Office was constructed in the late 1960s on the original site of Shillinglaw Cottage. Upon cessation of the Shire as a local government body following dismissal of councils by the Kennett Liberal Government in December 1994, the new Nillumbik Shire offices were located in Civic Drive, Greensborough. The Shire of Eltham office building was demolished and the site has remained vacant ever since. The three pine trees which featured in front of Shillinglaw Cottage and then the Shire of Eltham Offices remain standing on the vacant site as of 2017. Roll of 35mm colour negative film, 7 stripsKodak Gold 100-5eltham, main road, shire of eltham, shire of eltham office

The Shire of Eltham Office was constructed in the late 1960s on the original site of Shillinglaw Cottage. Upon cessation of the Shire as a local government body following dismissal of councils by the Kennett Liberal Government in December 1994, the new Nillumbik Shire offices were located in Civic Drive, Greensborough. The Shire of Eltham office building was demolished and the site has remained vacant ever since. The three pine trees which featured in front of Shillinglaw Cottage and then the Shire of Eltham Offices remain standing on the vacant site as of 2017. Roll of 35mm colour negative film, 7 stripsKodak Gold 100-5eltham, main road, shire of eltham, shire of eltham office

Includes pages on 980, decorated trams, Birney, PMTT, HTT works, S, T, Footscray, AETA Tours, Q, U, W's, Works cars, opening of Bourke St, Essendon, Flinders St overpass, Kingsway, Point Ormond, G class bodies. For details of each photograph and layouts see - Wal Jack Melbourne Album Reg Item 5001 listingHas a strong association with Wal Jack and tramway developments within Australasia until 1964 and given their extent particular significance. Features M&MTB Melbourne Trams.Dark brown binder cloth covered folder, brass screw binders (2 of 3 in position), grey paper inside covers holding some 44 manila cover foolscap size sheets of card on which photos have been mounted using photo corners so various types, captions in black ink. Has a colour illustration of Flinders St station with three trams on inside front cover. de of covers, some 157 black and white photographs.. trams, tramways, mmtb, tramcars, melbourne, wal jack

A newspaper article about the death of Jessie Vasey on 22 September 1966. Mrs J M Vasey was the wife of Major-General Vasey. During the second world war she became secretary of the AIF Women's Association, a body which sought to help soldiers' wives. Her work with this body drew her attention to the plight of war widows. After Major-General George Alan Vasey died in an aircraft accident on 5 March 1945 she became a widow herself. At the end of the war Mrs Vasey founded the War Widows Guild. This reproduction on display board may have been for an exhibition of Guild memorabilia at some time. The Victorian War Widows Guild closed in 2021. Some items, including this board, were donated to the Legacy archive for preservation. It was possible for a widow to be members of both Legacy and the War Widows Guild. Both organisations helped war widows in various ways.A record of the work done by Jessie Vasey and the War Widows Guild.Newspaper article 'The Fighting Widow dies' reproduced on a display board for signage of an exhibit.war widows guild, jessie vasey, wwg

A photograph of Jessie Vasey reproduced on display board. Mrs J M Vasey was the founder and president of the War Widows Guild. During the second world war she became secretary of the AIF Women's Association, a body which sought to help soldiers' wives. Her work with this body drew her attention to the plight of war widows. After her husband Major-General George Alan Vasey died in an aircraft accident on 5 March 1945 she became a widow herself. At the end of the war Mrs Vasey founded the War Widows Guild. This reproduction on display board may have been for an exhibition of Guild memorabilia at some time. The Victorian War Widows Guild closed in 2021. Some items, including this board, were donated to the Legacy archive for preservation. It was possible for a widow to be members of both Legacy and the War Widows Guild. Both organisations helped war widows in various ways.A record of the work done by Jessie Vasey and the War Widows Guild.Photograph of Mrs Vasey reproduced on a display board for signage of an exhibit.war widows guild, jessie vasey, wwg

A newspaper article saved by the War Widows Guild, of a pilgrimage to the Shrine of Remembrance in 2004. It is an annual Legacy event. The War Widows Guild was founded by Mrs J M Vasey, the wife of Major-General Vasey. During the second world war she became secretary of the AIF Women's Association, a body which sought to help soldiers' wives. Her work with this body drew her attention to the plight of war widows. After Major-General George Alan Vasey died in an aircraft accident on 5 March 1945 she became a widow herself. At the end of the war Mrs Vasey founded the War Widows Guild. The Victorian War Widows Guild closed in 2021. Some items, including this article, were donated to the Legacy archive for preservation. It was possible for a widow to be members of both Legacy and the War Widows Guild. Both organisations helped war widows in various ways.A record of the work done by Jessie Vasey and the War Widows Guild and of a close link to Legacy.Newspaper article with a photo of the pilgrimage to the Shrine in 2004.war widows guild, wwg, pilgrimage

non-fictionTraces three periods of Hanrahan's practice: early development; first major period of printmaking 1963 to 1967 and her second since 1967. Focuses on major themes and motifs and contains a small proportion of images made since 1960, many exploring her family and womens' lives. These themes and the tactile quality of her practice are woven into her 9 published novels, and text often appears in the prints. Includes list of solo exhibitions, a bibliography and biographical details.printmaking, lithography, etching, linocut, screenprinting, wood engraving, writing, sexuality, family, identity, drypoint, popular culture, body, motherhood, ageing, gender

The Gang-gang Cockatoo can be found throughout much of south-eastern Australia. They reside in mountainous forests and open woodlands, often in small groups or larger flocks at sources of food and water. They eat mainly seeds from native trees and shrubs along with wattles, eucalypts and hawthorns. The Gang-gang Cockatoo is also known to incorporate berries, nuts, fruits and insects to their diet. The sound made by this type of Cockatoo is often described as a rasping screech which resembles the sound of a rusty hinge being moved.This type of call is made when the bird is in flight. These birds also fond of attention and can pick their own feathers if they are bored. The name "gang gang" derives from a New South Wales Aboriginal language, either the Ngunnawal or Wiradjuri. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The male Gang Gang Cockatoo is standing stylised on a wooden perch. The Cockatoo has a dark slate-grey coloured body with a scarlet red/orange coloured head with a wispy crest. This specimen stands with its wings positioned to its sides and has round glass bead eyes. The bill has a hooked shape and is horn-coloured. The legs and feet of this specimen are dark grey.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, cockatoo, gang-gang cockatoo, cockie

The Weasel is the smallest carnivorous mammal in the world. They commonly reside in central and western Europe and in the Mediterranean region. They can also be found in North Africa, Asia and North America. This species was also later introduced to New Zealand. The Weasel prefers to live in locations which include grasslands, sand dunes, lowland forests, upland moors and towns which have a suitable food source. Collective nouns for a group of Weasels include a "sneak", a "boogie", a "gang" or a "confusion". This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.A light coloured weasel standing on a wooden platform. Two identification tags are tied to one of the specimen's back legs. The animal has a long and slim body with a small and triangular shaped head. The teeth are visible from close-up and the eyes have been replaced by dark coloured glass. The snout is pointed and the weasel has long whiskers. The ears are small and rounded.A.4491 ?. Weasel sp. / Catalogue, page, 48 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, squirrel

This is a marble stopper bottle. It was filled upside down so that as soon as the filling stopped the marble was forced down to seal the bottle against the rubber ring. Pressure inside the bottle kept the marble pressed against the top of the bottle. To open the bottle the marble has been pressed down and has fallen into the neck chamber below. The marble stayed inside the chamber when the bottle was tilted up for drinking. This bottle came from the Warrnambool aerated waters factory of John Fletcher. This factory was commenced in the mid 19th century by John Davis. As a young boy John Fletcher worked at the cordial factory of John Rowley in Banyan Street, Warrnambool. He then worked for John Davis at his Union Cordial Factory in Koroit Street for many years. In 1885 he succeeded John Davis in this business. Fletcher’s business continued until 1930 when it was sold to the soft drinks manufacturer, Ralph Reeves. John Fletcher made aerated waters, soda water, tonic water, lemonade, ginger ale, hop beer, hop bitters, sarsaparilla and cordials. This bottle is of interest as a good example of a marble stopper bottle and as a memento of the soft drinks made by John Fletcher, a prominent Warrnambool businessman for over 40 years. This is a glass bottle with a heavy round base and a rounded body which is markedly indented at the top, causing the aperture inside to be narrowed. The neck is rounded and tapers to the moulded glass opening at the top. There is a round piece of red rubber inside the top of the bottle. A green glass marble is loose in the neck section. The lettering giving details of the manufacturer is embedded into the glass. There is a small chip on the base.‘John Fletcher Trade Mark (crown symbol)Warrnambool’ ‘Soda Water’ ‘M’ john fletcher, warrnambool, cordial manufacturers, warrnambool

This camera was manufactured for a period of around 20 years, firstly in the USA and later in Great Britain. It is a simple to use basic model which used 127 film.This camera has significance as a very popular and cheaply made model which made photography accessible and relatively inexpensive to many..1 This camera is a rectangular hexagon shape with metal top and bottom and bakelite body. It has two circular winders on the bottom and a flip up section on the top which reveals the viewfinder.. There is a narrow neck strap attached with metal screws. There are two circular sections on the front , one being the lens. .2 The rectangular box is solid black cardboard on the base and is fitted with a yellow .1 Brownie Reflex Made in England by Kodak Ltd London. .2 Made in Great Britain by Kodak Limited London Brownie Reflex with Flash contacts.brownie reflex camera, warrnambool history

This bottle is sometimes referred to as a black glass 'Gallon' bottle. It is used for storing and transporting liquor such as stout, porter or ale. Glass bottles and glass jars are in many households around the world. The first glass bottles were produced in south-east Asia around 100 B.C. and the Roman Empire around 1 AD. America's glass bottle and glass jar industry were born in the early 1600s when settlers in Jamestown built the first glass-melting furnace. The invention of the automatic glass bottle blowing machine in 1880 industrialized the process of making bottles. In 2019, plans were made to re-introduce milk glass bottle deliveries to Auckland in early 2020. The earliest bottles or vessels were made by ancient man. Ingredients were melted to make glass and then clay forms were dipped into the molten liquid. When the glass cooled off, the clay was chipped out of the inside leaving just the hollow glass vessel. This glass was very thin as the fire was not as hot as modern-day furnaces. The blowpipe was invented around 1 B.C. This allowed molten glass to be gathered at the end of the blowpipe and blown into the other end to create a hollow vessel. Eventually, the use of moulding was introduced, followed by the invention of the semi-automatic machine called the Press and Blow. In 1904 Michael Owens invented the automatic bottle machine. Before this time most glass bottles in England were hand blown. This is one of four bottles in our Collection that were recovered by a local diver from the quarantine area just inside the Port Phillip Heads. Ships were required to pull into this area to check for diseases and other medical issues before they could head up to Melbourne. Quite often they would drink and throw the bottles overboard. Handmade glass bottle, manufactured in the 1850s-1900s. The bottle gives a snapshot into history and a social life that occurred during the early days of Melbourne's development and the sea trade that visited the port in those days. Bottle, glass, solid dark brown (black), round, matt surface. Glass ring below mouth, neck is slightly bulbous, seam line around shoulder, body tapers slightly inward from shoulder to base. Base is concave with pontil mark. Bottle has a white mark down the side. No inscription. Generally used for storing stout, porter or ale.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, handmade bottle, handmade english beer bottle, pontil bottle, black glass, gallon

CEMA Art collection Previously located in History HouseThe painting portrays a gorge from the perspective of being in the gorge and looking towards the shore. In the foreground is a small body of water with large brown rocks to the right. Yellow sand extends from the rocks around to the left of the water. The sand stretches from the water's edge to the large cliffs in the background that form the borders of the gorge. The work is mounted and framed in an ornate gilded frame with glass.Front: A.S.Murray (signature lower left) A ROCKY GORGE by A.S.MURRAY (sticker - lower centre on glass) Back: 3132 (small yellow sticker)

Model ship was presented to the Melbourne Maritime Museum by the British Phosphate Commissioners. Built as Tri-Ellis (1958-74), Tryphena (1974-78), Man Tat (1978-80), 1980 broken up. DWT 13,756 SPEED 14 KNOTS.AT 112RPM. BOILERS LARKSON TRIMBLETUBE. FUEL CONSUMPTION 7 TPD. GENERATORS W.H.ALLEN - 4CYL.2SA290/470. 480B.H.P.320L.W.-220V 333RPM DAILY CONS - 1.5 TONS. EMERGENCY GEN R & H. 40 K.N. -220V. REFRIGERATING MACH: J & G HALL LTD. SUPERSTRUCTURE: FORECASTLE 62'..2 DECKS RIVETED AND WELDED. CARGO BATTONS NOT FITTED. 9 BULKHEADS. RISE OF FLOOR 6".WATER BALLAST 3,296 TONS INCLUDING TUNNEL TANKS 1,341 TONS. 'TWEEN- DECKS FORWARD 274 TONS. REFRIGERATED CARGO INSTALLATION - 6 HOLDS - 55.2',52',54',59.5',43' ,53'. GRAIN CAPACITY :621,640 CU. FT. BALE CAPACITY : 573,810 CU. FT. INSULATED CAPACITY : 5,050 CU.FT. 6 STEEL HATCHWAYS (27',30',30'* 30') (30'* 27.75') (27', 24' * 28' ). 12 WINCHES...DERRICKS 1 (25), 2 (10), 10 (5). MACHINERY: OIL 2SA 7CY.C20 * 1400MM EXHAUST 470MM. 6500 BHP. FUEL BUNKERS: 2135 TONS HIGH VISCOCITY FUEL. The main engine was an opposed piston type Harland & Wolff 6-620/ 1870 6 for the number of cylinders.. 620 for the cylinder bore and 1870 for the combined strokes of the main exhaust pistons in each cylinder. This engine was based no a Burmeister and Wain design but H & W gave these engines their own type designation. Sailed on board its maiden voyage to Australia via Casablanca Morocco where she collected her first load of phosphate. We sailed to Geelong via the Suez canal and the Port of Aden (Yemen) and Freemantle. The first load of phosphate was unloaded at Corio Bay (geelong) Formerly part of the collection of Melbourne shipping company, Howard Smith Ltd. Ship builder's model of the cargo ship Tri-Ellis IMO 5368196 - Body of moulded polyurethane painted in red, black and grey, the deck painted in red, with detailed fittings, machinery, rigging and superstructure, raised on a wooden base. Original ship built Clyde 1958, 11,761 gross tonnes, 531.5' x 68' x 31' (162.0 x 20.73 x 9.45m)plaque at foot of model "MV TRI ELLIS/ LENGTH B.P. 486'-3"- BREADTH MLD 68'0" - DEPTH MLD 40'6"/ TONNAGE GROSS 11,760/ Built by HARLAND & WOLFF LTD/ For BRITISH PHOSPHATE COMMISSIONERS" On model "TRI-ELLIS" painted black

This flip top pocket aluminium ash tray was at the beginning of the social "cleaning up" of cigarette ash and related products. This cigarette waste container was for those occasions when it was polite not to throw the cigarette ash and used up cigarettes "buts" on the ground, or if working in any rural area during a dry fire prone season, when discarding burning cigarette waste could set up a severe "bush" fire. It was also at the beginning of an intensive look at the affects of smoking upon the health of users. Later in the 1900s was a time when medical evidence supported a ground swell of the anti smoking movement which resulted in further restrictions of the use cigarette smoking in public places. Before the anti cigarette smoking revolution, it was both fashionable and manly to either roll your own cigarette or open up a packet of "tailor made's". In the rural and man's man environment the roll your own provided a visual acknowledgement that the user was "true blue" Aussie male and not a city boy. The cycle of use of cigarettes has drastically changed from when this item was first used. Today's society (post 2000) has produced a ground swell of government and non government organisations whose aim is provide a cigarette "ash" free environment and society. This is highlighted in the beginning of the 2000 millennium by a cigarette "Free" Australia campaign, and the pocket flip top personal ash tray as a practical solution for butt litter disposal.This light weight aluminium pocket ash tray not only was used when social graces required it to, but also provided a container for any unfinished cigarettes or stogies (cheap half used cigars). In rural areas (open fresh air countryside), where time was always made available for the "smoko" (Australian rest period), at any time, especially after some hard physical work, the ability to have a self contained ashing apparatus, not to offend the gentler folk, was a pre-requisite . The rural environment, in the days of these cigarette ash containers,was one which could range from harsh and unforgiving to mild and relaxing. Smoking could be enjoyed anywhere and at any time without too much "fussing" around. This ash tray was mobile, convenient, unobtrusive and regarded by the user as being considerate to those around. It also eliminated the tell tale evidence that the "no smoking" signs had been ignored. The Kiewa Valley was like many rural ares that found it hard for smokers to come to grips with a governmental "non smoking policy" to indoor recreational and other "confined space" environments. The covered lid reduces odors and eliminates ashes from being blown around.Aluminium round container with a lid. The opening lid is spring loaded, hinged top, circular and fixed by a clasp, pop- riveted (4) onto the main housing. Opposite the hinge the lid is held closed by a small metal ball fitting tightly to the top wall of the container. The lid is opened by the use of a fingernail positioned at junction of lid to body. This edge is bevelled to allow access.personal effects, tobacco waste products, smoking accessories, tobacco

This item was used by Helena Warren (nee McKeown), a well known photographer and local press correspondent. She lived at Newmerella. The meat mincer was a particularly popular kitchen gadget. By means of the mincer left overs and off cuts could be transformed into shepherd's pie or mince steak. Gadgets like this Universal food chopper are typical of domestic inventions designed to reinforce the principles of thrift and labour-saving. Many of these gadgets were imported from the United States. A cast iron metal hand mincer with a long metal body with an opening at one end, inside which is a circular spiral blade and a screw clamp attachment at the other end. On one side of the mincer is a curved metal handle held in place by a metal nut and a wooden bulb shaped knob at the end. There is a metal circular webbed blade held in place by a metal nut and bolt."Universal No. 2 brand; L.F. & C., New Britain, Conn., U.S.A."mincer chopper food-preparation

In early civilization's cereal grains such as maize, wheat, barley etc. were stored in large airy buildings, often raised up from the ground to reduce infestation by pests and vermin. Ancient Egyptian and early Hebrew writings include reference to such buildings. Smaller quantities of food were stored in baskets made from woven grasses or leaves. In more recent times but prior to the invention of the refrigerator many food products were stored in the home as preserves or pickles, often in heat sealed jars. Dry food items were stored in vermin proof metal containers and could be found in any early colonial kitchen. Items such as coffee, tea, rice and sago were stable food types and needed longer term storage and a higher degree of protection from vermin and the elements, a common material used during this time was sheet metal or tin such as is used today in a common form of storage the biscuit tin. An early example of colonial food storage used in a domestic setting, it is interesting to note the subject items have provision to be locked. This indicates the value early colonial settlers placed on the contents and used to prevent pilfering. The subject items are now sought by collectors. Canister set; set of four canisters. Cylindrical matching kitchen storage tins with hinge lid that has a latch closure, and a folding handle on top of lid. Canisters are painted brown and the body has a graphic of a scroll in gold with printed label of contents. The canisters range from small to large, "COFFEE", "TEA" , "SAGO", " RICE" (respective RNs 163.1, 163.2, 163.3, 163.4)Respectively labelled "COFFEE," "TEA," "SAGO," "RICE" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, flagstaff hill maritime village, great ocean road, canister, canister set, rice canister, kitchen canister, food storage, domestic item

Green stone granite axehead highly sharpened and beautifully fashioned at one end with rough hewn markings over the body of the object. Axe has a "waist" mid section where handle would have been attached. Also evidence of extensive wear from use. This axehead was quarried at one of only two green stone granite sights in Australia both in Victoria. Scarring at one end of the axehead where it has been split from larger piece of granite.defence, food, preparation, green stone granite, axehead, mt camel, jaara jaara people, jaara, waisted, quarries, tree cutting, weapon making

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council (the GLC or Greater London Council), where he organized many amazing concerts in most of the 150 parks, in and around the London district. He was also responsible for some of London’s major concerts at Kenwood, the Crystal Palace and Holland Park. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.A printed souvenir programme which details the history and successes of the brass band set up at the Fodens Motor Body Works in 1900. On the back cover is a photograph and details of the band personnel and the Managing Director of the company. Also shown are two photographs, one of the 1902 Foden Steam Wagon and one of the World War 2 Centaur Tank which had been built by the company.frank wright, foden diesel, fodens motor works band, brass band, centaur tank, foden steam wagon

Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and was awarded a gold medal for the highest marks in the ALCM examinations in the British Colonies at the age of seventeen years. He became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.Two black and white photographs, one of a bust of a man, William Hartley, with a pair of angelic bodies atop a marble pillar on which is written the position held by him aboard the R.M.S. Titanic, that of bandmaster. It is set in the grounds of a garden, next to the main road through the town of Colne in the United Kingdom. the second is a photograph of the printers shop in Colne Lanes within the same town.1). Monument at Colne Lanes, August 2nd 1934, Colne is in Lancashire 2). Colne Lanes, August 1934frank wright, wallace hartley monument, colne lanes, bandmaster, titanic

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, olive green glass, handmade. Tall slim Gallon style liquor bottle. Applied double collar lip; square upper and flared lower. Mouth has remnants of tape and wire seal. Mould seam around shoulder. Body tapers slightly inward to the base. Push-up base has pontil mark and is embossed in large letters. Base is uneven. Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

This handmade ‘gallon’ style of bottle was generally used for storing and transporting wine and ale. Many bottles similar to this one have their bases embossed with “6 TO THE GALLON”. It is one of many artefacts recovered from an unidentified shipwrecks along Victoria’s coast between the late 1960s and the early 1970s. It is now part of the John Chance Collection. The capacity of this is one-sixth of a gallon (imperial measure), which is equal to 758 ml. (American bottles were often inscribed “5 TO THE GALLON”, which is one-fifth of an American gallon, equal to 757 ml.) Contemporary home brewers can purchase new ‘6 to gallon’ bottles that hold 750 ml. and are sold in cases of 36 bottles, which is equal to 6 gallons of wine. Glass was made thousands of years ago by heating together quartz-sand (Silica), lime and potash. Potash was obtained from burnt wood, but these days potash is mined. The natural sand had imperfections such as different forms of iron, resulting in ‘black’ glass, which was really dark green or dark amber colour. The ‘black’ glass was enhanced by residual carbon in the potash. Black glass is rarely used nowadays but most beer, wine, and liquors are still sold in dark coloured glass. Glass vessels were core-formed from around 1500 BC. An inner core with the vessel’s shape was formed around a rod using a porous material such as clay or dung. Molten glass was then modelled around the core and decorated. When the glass had cooled the vessel was immersed in water and the inner core became liquid and was washed out. Much more recently, bottlers were crafted by a glassblower using molten glass and a blow pipe together with other hand tools. Another method was using simple moulds, called dip moulds, that allowed the glass to be blown into the mould to form the base, then the glassblower would continue blowing free-form to shape the shoulders and neck. The bottle was then finished by applying a lip. These moulded bottles were more uniform in shape compared to the free-form bottles originally produced. English glassblowers in the mid-1800s were making some bottles with 2-piece and 3-piece moulds, some with a push-up style base, sometimes with embossing in the base as well. Improvements allowed the moulds to also have embossed and patterned sides, and straight sided shapes such as hexagons. Bottles made in full moulds usually displayed seam seams or lines. These process took skill and time, making the bottles valuable, so they were often recycled. By the early 20th century bottles were increasingly machine made, which greatly reduced the production time and cost. This bottle is historically significant as an example of a handmade, blown inscribed glass bottle manufactured in the mid-to-late 1800s for specific use as a liquor bottle with a set measurement of one-sixth of gallon. It is also historically significant as an example of liquor bottles imported into Colonial Victoria in the mid-to-late 1800s, giving a snapshot into history and social life that occurred during the early days of Victoria’s development, and the sea trade that visited the ports in those days. The bottle is also significant as one of a group of bottles recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection of shipwreck artefacts by his family, illustrating this item’s level of historical value. Bottle, brown glass, Tall slim gallon style. Applied double collar lip; upper is straight, lower is flared. Lip has bumps around the top. Neck has slight taper towards shoulder, which has a shoulder seam from the mould. Body tapers inwards towards base. Push up base has a pontil mark. Base is embossed.Embossed on base "6 TO THE GALLON"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, gallon bottle, 6 to the gallon bottle, handmade, dip mould, mouth blown, pontil mark, blown bottle, liquor bottle, ale bottle, double collar, 19th century bottle, collectable

Photograph - black & white of 2 women sitting at a table with pen and paper (bottle of ink on table). Other women standing around but can only see bodies (not faces). Date written on front of photograph is 11.9.1947. Written on back of photo - obtaining signatures to petition for referendum re nationalisation of banking. In front of Beehive Hargreave Street. Mrs Burley with me. Who is me?person, group, pethard family, photograph. pethard family collection. signing of a petition. mrs burley and me.

Metal brooch. Item represents a stylised butterfly or moth. Each wing is composed of four rough circles, each larger than the other. Each circle is held by a smaller solid circle. In the centre, wire has been wrapped around the 'body' with one end forming an antennae. The other antennae has broken off. Reverse has the remains of clasps. Object is rusted.bendigo, gold mining, qc binks, qc binks.

Postcard, WW1, B&W image of the grave of German airman, Baron von Richthofen, shot down in the Somme area. He was buried at Bertangles by members of the Australian Flying Corps. The grave is mounded with earth with flowers on top. At the head of the grave is one propeller stuck in the ground. Richthofen's body was moved a couple of times before his final resting place in Germany.postcard, postcard, ww1, baron von richthofen, grave, somme, bertangles