Cape Town and its Harbour - the Metropolis and Sea-port of South Africa Stereoscope #4 from a boxed set "For Queen and Flag: South Africa 1900" by Underwood and Underwood, Publishers Works and Studios: Arlington NJ; Littleton NH; Washington DCstereoscope, boer war, south africa, capetown

This newspaper article advertised and promoted Wangaratta Agricultural High School to the public before the school was openedPhotocopy of a 1908 newspaper article of black text on white paper featuring a hand rendered drawing of the proposed Agricultural High School building and information about the school and its courses

Digital image of tram W3 661 at the Preston Workshops, 7 June 1976, prior to its transhipment to the Ballarat Tramway Preservation Society during 1976. Photo by Ron Scholtentrams, tramways, w3 class, btps, preston workshops, tram 661

Newspaper clipping from the Courier, titled "Red tram for the gardens" Wednesday 12 November 2014, about the delivery of the Restaurant tram and grant to the BTM for its restoration. Tram 939.btm, restaurant tram, tram acquisition

Flyer with a small sketch of Fortuna inviting people to have their say about Fortuna - and its Future. Comments can be made on the 'Fortuna Charter' blogsite on the web and also a postal address.bendigo, clubs, have your say about fortuna - and it's future!, villa fortuna action group inc.

Yields information about trams severely damaged during accidents and a collision with a semi trailer.Negative and Digital images of the Wal Jack Ballarat Negative file of No. 37 after its accidents with a semi trailer on 15/4/1954 See Reg Item 3861 for the accidenttrams, tramways, accidents, depot, tram 37

This work forms part of the collection assembled by the historian Dorothy Rogers, that was donated to the Kew Historical Society by her son John Rogers in 2015. The manuscripts, photographs, maps, and documents were sourced by her from both family and local collections or produced as references for her print publications. Many were directly used by Rogers in writing ‘Lovely Old Homes of Kew’ (1961) and 'A History of Kew' (1973), or the numerous articles on local history that she produced for suburban newspapers. Most of the photographs in the collection include detailed annotations in her hand. The Rogers Collection provides a comprehensive insight into the working habits of a historian in the 1960s and 1970s. Together it forms the largest privately-donated collection within the archives of the Kew Historical Society.The Order of the Commemorative Service on the completion of one hundred years of worship. A booklet produced for the Commemorative Service held at Holy Trinity Church to commemorate its centenary on 9 June 1963holy trinity church (kew), churches -- kew (vic.)

One of a group of eight slides containing images of publications produced by or issued by the Kew Mercury, a local newspaper owned by George H Mott. The slides were donated by Miss Katherine Murphy in 1980.35 mm colour transparency (slide) of a flyer issued by the Kew Congregational Church in Walpole Street in 1888, advertising services commemorating the anniversary of its Sunday School, as well as a 'Conversazione'.kew congregational church -- walpole street, churches -- kew

The Kew War Memorial was planned and constructed at the apex of Cotham Road and High Street, Kew. It was built to commemorate those soldiers from Kew who served in the First World War. The Memorial was designed by the architect Harry Tompkins. It was unveiled by the Governor of Victoria in 1925.An early photograph of this iconic Memorial that locates it in its context. Small black and white photographic positive showing the Kew War Memorial in 1927, two years after its opening. The shops, known then as 'The Block' can be seen behind the Memorial.Annotated verso "Kew Memorial"kew war memorial, war memorials -- kew -- victoria -- australia, architects - harold tompkins, cotham road, high street -- kew (vic.), wwi

The 8 Kings/Queens Royal Irish Hussars was affiliated with 8th Light Horse and later 8/13 Victorian Mounted Rifles. Gifts and visits were exchanged between the regiments. The artist, Henry Martens (b. 1790, London; d. 1868, London) was an English military illustrator and artist. He created works for the firm of Rudolf Ackermann who ran the Eclipse Sporting Gallery at 191 Regent Street. The majority of these depicted military uniforms and battle scenes, particularly images of the Sikh Wars and the Kaffir Wars. He worked mainly in water-colour although a few oil paintings do exist.Framed print of "Visiting the Outposts" by Henry Martens. This was a gift to 8/13 Victorian Mounted Rifles from its affiliated regiment 8 Queens Royal Irish Hussars in 1980.Presented by Queens Royal Irish Hussars 1980military, light horse, hussars, irish, martens, girt, affiliation

An Australian Army issued UN arm band, probably used in Timor with an AUS flag, UN badge and RAR badge on the arm band. Its framed in a glass with wooden frame

Murray Comrie Collection. The house in this photo was once the residence of the Tarnagulla police officer. The town block where the house was originally built was the base for policing in Tarnagulla from 1878 until the 1990s. The house was built in 1878 as a residence and adjacent was a lockup, office and stable (shown in THA-2019.0031). This house was sold for removal in in the late 1960s and replaced with a prefabricated residence and small office brought from Bealiba. These as well as the lockup are still in place (as of 2019), but are no longer used. It is not known where this house was moved to. It is not known whether this photo was taken before or after the house was moved. Monochrome photograph of a house which was once the police residence in Tarnagulla. Not known if this image was made when it was in its original position (Victoria Street Tarnagulla) or after it is was sold and moved in 1969. tarnagulla, police, policing, houses

Colour slide - Kodachrome cardboard mount - of Bendigo 12 (started its life off as Hawthorn Tramways Trust No. 1) outside the Bendigo depot, Slide dated Jan 1976On the slide in pencil "HTT 1 MMTB 107, Bend 19, renumbered 12" and in ink "Ron Scholten" and "12"trams, tramways, htt, bendigo, tram 12

An Australasian Darter is a waterbird with a distinctive long straight neck and a sharp bill. This feature has resulted in this bird sometimes being called the "snakebird" . This specimen is a slim bird with pale grey to white colouring. This colouring identifies this particular specimen as female. The Australasian Darter is commonly located around waterways in freshwater or brackish wetlands more than 0.5m deep. The Darter will perch on fallen trees and branches near the water and holds its wings out to the sides in an effort to dry them. The Noongar people of southwestern Australia called this bird "mimal". It has also been called the New Holland darter or the New Holland devil-bird. 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.An Australasian Darter with a large, slim body and grey to white colouring. This specimen has a long snake-like neck and webbed feet. It has large powerful wings positioned flat against the rear of its body. The eyes are made of glass and are a pale yellow colour which is similar in colour to the long and sharp bill.Paper label: "154 New Holland Darter"taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, darter, bird, australasian darter

The name on the letterhead, “Canning Pierhead North” is the name of the Liverpool Pilot Authority, which was situated in 1883 at Cannon Pier on the River Mersey where ships entered to travel to Liverpool. The logo on the letterhead belongs to the Liverpool Shipwreck and Humane Society. The letter is addressed to “Mr Peter Carmody, Port Campbell, south coast of Australia”, and reads as follows: “January 21st 1893, Dear Sir, I have the pleasure to forward to you by post herewith a Silver Medal and a Certificate of Thanks, voted to you by the Committee of the Liverpool Shipwreck and Humane Society for your courage and humanity in going out into the surf to rescue the survivors of the crew of the barque “Newfield” which vessel was wrecked near Port Campbell on the 29th of August last. Be kind enough to send a few lines acknowledging receipt of the testimonials. I am Dear Sir, Yours Faithfully, Robert P. J. Simpson, Secretary.” The medal accompanying the letter is the Liverpool Shipwreck and Humane Society’s “Bramley-Moore medal for saving life at sea 1872”. The Society was formed in 1839. In 1872 Mr John Bramley-Moore donated £500 on condition that the medal have the specific inscription above on its reverse. The Bramley Morre medal was first awarded in 1874 and records show that since that time only one gold medal has been awarded, twenty-two silver medals and seventeen bronze medals, the last being in 1945. This Bromley-Moore medal was awarded to Peter Carmody for his bravery in saving lives on the Newfield shipwreck. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1889 by Alexander Stephen and Sons. It was owned by the Newfield Ship Company in 1890 and later that year It was registered in Liverpool to owners Brownells and Co. The Newfield left Sharpness, Scotland, on 28th May 1892 with a crew of 25 under the command of Captain George Scott and on 1st June left Liverpool. She was bound for Brisbane, Australia, with a cargo of 1850 tons of fine rock salt, the main export product of Sharpness. At about 9pm on 28th August 1892, in heavy weather, Captain Scott sighted, between heavy squalls, the Cape Otway light on the mainland of Victoria but, due to a navigational error (the ship’s chronometers were wrong), he assumed it to be the Cape Wickham light on King Island, some 40 miles south. He altered his course to the north, expecting to enter Bass Strait. The ship was now heading straight for the south west Victorian coast. At about 1:30am the Newfield ran aground on a reef about 100 yards from shore and one mile east of Curdie’s Inlet, Peterborough. The ship struck heavily three times before grounding on an inner shoal with 6 feet of water in the holds. Rough sea made the job of launching lifeboats very difficult. The first two lifeboats launched by the crew were smashed against the side of the ship and some men were crushed or swept away. The third lifeboat brought eight men to shore. It capsized when the crew tried to return it to the ship for further rescue The rescue was a difficult operation. The Port Campbell Rocket Crew arrived and fired four rocket lines, none of which connected with the ship. Peter Carmody, a local man, volunteered to swim about one mile off shore to the ship with a line to guide the fourth and final lifeboat safely to shore. He was assisted by James McKenzie and Gerard Irvine. Seventeen men survived the shipwreck but the captain and eight of his crew perished. The Newfield remained upright on the reef with sails set for a considerable time as the wind slowly ripped the canvas to shreds and the sea battered the hull to pieces. The Marine Board inquiry found the wreck was caused by a "one man style of navigation" and that the Captain had not heeded the advice of his crew. According to Jack Loney ‘… when the drama was over . . the Newfield was deserted except for the Captain’s dog and two pigs.’ Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at Ssea, which he received by mail on January 21st 1893. The medal and letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody’s grand-daughter Norma Bracken and her son Stuart Bracken on 25th May 2006. The Medal and Letter of Congratulations join other items in the Newfield collectionlFlagstaff Hill’s collection of artefacts from the Newfield is significant for its association with the shipwreck Newfield, which is listed on the Victorian Heritage Registry. The collection is significant because of the relationship between the objects. The Newfield collection is archaeologically significant as the remains of an international cargo ship. The Newfield collection is historically significant for representing aspects of Victoria’s shipping history and its association with the shipwreck. The Letter accompanying the Medal for Bravery awarded to Peter Carmody is significant because the attempt to save lives is associated with the shipwreck Newfield.A copy of a letter from the Liverpool Shipwreck and Humane Society to Peter Carmody in reference to the bravery of Peter Carmody over the wreck of the "Newfield". The letter is divided into 2 columns and is written in longhand using black ink on both columns. There is a letterhead in the centre of the left hand page and a round logo printed or stamped on the top of left of the left hand page. The centre of the logo shows a design of a man kneeling on a floating part of a wreck. He is rescuing a child from the sea. On the top of the circle of the logo a design shows a long-legged hen cormorant with extended wings holding an olive branch in its beak. There is also the name of a city printed onto the page under the letterhead. The letter has been folded into half along its long side, then in half again along its long side then into thirds. The letter is dated January 21st 1893. “CANNING, PIERHEAD, NORTH” and “LIVERPOOL” are printed on the top left hand page. The logo “LIVERPOOL SHIPWRECK AND HUMANE SOCIETY” is printed or embossed on the paper.28 august 1892, bramley moore, carmody, certificate of thanks, curdie's river, flagstaff hill, flagstaff hill maritime museum, gerard irvine, james mckenzie, liverpool shipwreck and humane society, maritime museum, medal, newfield, nineteenth century, norma bracken, peter carmody, port campbell, rescue, robert simpson,, shipwreck, ship wreck, stuart bracken, victorian shipwrecks

"Dennys, Lascelles Limited 1857-1957 Annual Wool Report and Centenary Review". Apart from the annual report, this booklet also contains a brief history of Dennys, Lascelles Limited from its founding in 1857 up to 1957. A copy of both the ‘Dennys Lascelles Limited 1857-1957: Annual Wool Report & Centenary Review’ & ‘Staff Reunion Souvenir Programme, 1988’ was donated to the museum in 2021. These were duplicate items so only their story was retained in addition to the image of Rita located in Multimedia. “Enclose two items which may be of interest to add to your collection. They belonged to my mother, Rita Sedgwick (nee Glenn), who died earlier this year in April. She worked for Dennys Lascelles in two separate periods. First as a young girl, who had finished her schooling, at Morongo Presbyterian ladies College, having been sent as boarder there by her parents from their farm at Mathoura (just north of Echuca). This period was from 1942 — 1947. It was her second job out of school having worked first at the then Geelong Telephone Exchange. She would commute daily to work on a bicycle from where she was then living in Drumcondra. She had the front office role of receptionist and telephonist driving an old manual switchboard. The old front desk was her domain. She departed in 1947, shortly after she was married in late 1946. She spoke fondly of her times at the company as a young girl in her late teens and early twenties. Her second stint was much later, but again as the front-desk telephonist and receptionist commencing in 1972, ending 11 years later in 1983. This was a period when Sir Henry Bolte was on the Board, Don Urqhuart was MD, Ray Hobson was General Manger, Cliff Bone the company Secretary, Peter Keys the CFO and Jim Hay was also on the Executive team. While there were some 25 years between her periods of service, she welcomed the chance to re-join the company. Again, it was a time of hard work, and good friends. The busy times were the wool auctions, when the Firm would be visited by representatives of the big Japanese trading houses such as Mitsui, and Kanematsu. The Chief Auctioneer, Mr. Reeves (I can't recall his first name), would hold court at the now demolished Geelong Wool Exchange — I saw him in action once — what a sight. The huge show floors in the Denny's building would be full of open bales and samples for the buyers to inspect, and for mum days would start at 0800, and finish at 1800 or later. In quieter times over summer, it was reported that the empty show floor would provide an excellent arena for the more enthusiastic cricketers to get in a bit of practise with a tennis ball at lunch and after closing time! Dennys was a full-service firm for wool growers, with branches all over the Western Districts as far afield as Mt Gambier, but through Timboon, Warrnambool, and the like, as I am sure you are aware. She also saw the merger of Dennys and Strachan to create DSM, and later the amalgamation with AML&F to create Dennys AML (I think). She saw the change from the old manual switch board to the then latest of PABX technologies and was part of the team the relocated from the original offices to the new address on the south side of Brougham Street. Along with the shift from the large show floor-based sales of the past. She retired from fulltime work in mid-1983, again with fond memories and friendships that lasted a lifetime. I found these two items among her things recently, and felt that given her connection to the industry, and the place in which the Museum now resides you may like to add them to the collection. I hope you can find a home for them, and that they might add a little to the story that the wool museum now houses and curates.” "Dennys, Lascelles Limited Annual Wool Report and Centenary Review, August 1957". Apart from the annual report, this booklet also contains a brief history of Dennys, Lascelles Limited from its founding in 1857 up to 1957.Dennys, Lascelles Limited Annual Wool Report and Centenary Review, August 1957wool brokering, wool growing, dennys, lascelles limited

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.This panoramic view was probably taken from the roof of Xavier College. It invites the viewer to look down on the buildings and streets of Kew, and across to the distant horizon. Mansions and solid bourgeois villas dominate the view of Charles and Wellington Streets. The imposing spires of the Presbyterian and Methodist Churches, built in one of the highest areas of Kew, can be seen in the distance. In the foreground, the photographer includes three significant mansions: Molina, Roxeth and Elsinore. Molina, in the foreground, and the group of weatherboard buildings in its yard was used at this stage for the privately operated ‘Kew High School’ (founded 1872). Roxeth, the home of Herbert Henty can be identified by its distinctive four-sided tower. All three buildings are now part of Trinity Grammar. Other built structures observable in the photograph include Wilton (now the Kew RSL), designed by Guyon Purchas for Dr William Walsh in 1886, and the only known image of the Prospect Hill Hotel prior to the renovation of 1935. Bird's Eye View Looking Northkew illustrated, kew where we live, photographic books, henry kellett

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.This is the earliest known photograph of the exterior of Byram (later Tara Hall). It shows the original red brick fence, its asymmetrical gate and gateposts, with a large terra cotta gargoyle surmounting the higher of the two. The architect, Edward Kilburn designed Byram in the Arts & Crafts style for the industrialist George Ramsden. Construction began in 1888 and was reputed to have lasted three years. The mansion had frontages to Studley Park Road and Stevenson Street, including gardens laid out with great taste, including pleasure grounds, tennis lawn, fruit and flower garden, and paddock. The size of many of the trees in the garden indicate that many survived from the garden of Clifton Villa, the previous single-storeyed house built on the site by the Stevenson brothers. Byram had views to Melbourne and Port Phillip Bay. The house was demolished in 1960, despite opposition from the National Trust (Victoria), and its gardens subdivided into residential allotments.A View in Studley Park Roadkew illustrated, kew where we live, photographic books, henry kellett, byram, tara hall, goathlands

At the beginning of the 1890s, the Kew businessman and Town Councillor, Henry Kellett, commissioned J.F.C. Farquhar to photograph scenes of Kew. These scenes included panoramas as well as pastoral scenes. The resulting set of twelve photographs was assembled in an album, Kew Where We Live, from which customers could select images for purchase.The preamble to the album describes that the photographs used the ‘argentic bromide’ process, now more commonly known as the gelatine silver process. This form of dry plate photography allowed for the negatives to be kept for weeks before processing, hence its value in landscape photography. The resulting images were considered to be finely grained and everlasting. Evidence of the success of Henry Kellett’s venture can be seen today, in that some of the photographs are held in national collections.It is believed that the Kew Historical Society’s copy of the Kellett album is unique and that the photographs in the book were the first copies taken from the original plates. It is the first and most important series of images produced about Kew. The individual images have proved essential in identifying buildings and places of heritage value in the district.When the Kew Lunatic Asylum was opened in 1871, its extensive 340 acres of grounds were intended for farming, agriculture and recreation for the inmates. The point-of-view chosen by Farquhar for this panoramic photograph focuses on the ordered open fields, haystacks and remnant trees that extended from the foreground to the rear of the Asylum. The inmates are the absent players in this pastoral idyll. In 1891, The Argus reported on the Annual Asylum Picnic: “Wednesday saw the Kew picnic, the yearly festival of the mad folks and their keepers. Once a year the public subscribes for cakes and ale for all these mad folks, and their keepers, from superintendent to lowest wardsman, turn out, and use their best endeavours to make one day in the year sanely merry.” Regardless of such merriment, the Asylum’s development and ongoing status were frequently a source of disquiet to the residents of Kew, who regularly petitioned the State Government for its removal. Despite these views, the Asylum was to remain a functioning institution from 1871 to 1988. Kew Asylum & Groundskew illustrated, kew where we live, photographic books, henry kellett, kew lunatic asylum

The White-Throated Needletail is a highly sociable bird commonly seen in large flocks containing a hundred plus birds. This species is also known to mingle with birds of different species. They have a distinctive white throat and undertail. This species is mainly airborne, however they are known to reside in trees when on land. They can mainly be spotted along the north and east parts of Australia. This species is listed as vulnerable and threatened in the Australian Capital Territory, Queensland and Victoria. Since this is a taxidermy mount, it is not an accurate depiction of the White-Throated Needletail. The species should have a predominantly grey-brown plumage, with the exception of the throat and undertail which are white. There should also be a green tint to the species feathers. 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.This White-Throated Needletail had grey-brown feathers. It has distinctive white patches on its throat and under the tail. The back of the bird is a light brown with a white patch in the center of the back. This specimen stands upon a wooden mount and has an identification tag tied around its leg. The bill is short and the wings are long and pointed. The bird's tail is short and square in shape with protruding feather shafts which give a spiky appearance.2a / Spine-Tailed Swift / See catalogue, page 7taxidermy mount, taxidermy, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, white-throated needletail, australian birds

Dairy farms used cream separators to separate the milk and the cream before using it themselves or selling it to the dairy companies, shops or directly to the public.This cream separator was used by P & R Creamer on their dairy farm in the Kiewa Valley.3 parts - top brass lid with hollow cylinder enclosed across its top and extending beyond its circumference. 2. Stainless Steel hollow cylinders that fit the base and the lid but has 2 long curved spouts extending out - one for the milk and one for the cream to come out 3. Black cast iron stand that houses the gear mechanisms that drive the separator cones. The gear speed reduction wheel is on one side. "Alfa-Laval MOB / 80 Gall Capacity per hr / 48 Rev of Crank per Minute / Alfa-Laval Separator / Co. Ltd / 299 Sussex St. / Sydney" - on bottom side of the machinedairy; cream separator; kiewa valley; creamer family

The kit bag was used by James Thomas Alfred Ralph, who was born in South Australia on 25 September 1897. He enlisted for service in the First World War on 17 May 1918 in Adelaide with the Australian Medical Corps General Reinforcements. He was allocated the service number 20568 and embarked from Adelaide on the HMT Gaika on 6 August 1918. He arrived in London, England on the 13 October 1918 and allocated to the Australian Army Medical Corps Training Depot. He transferred as a medical officer to the 1st Australian Hospital (Hayfield?) on 2 December 1918, and was attached to the 1st Australian Army Hospital (Sutton Vale?) in January 1919. He returned to Australia in Febuary 1920 on the Cape Verde as nursing staff. He was discharged from service in Adelaide on 17th March 1920.Tan coloured canvas kit bag used by a member of the Australian Army Medical Corps during World War 1. The tubular kit bag has 12 brass eyelets placed around its opening, and is reinforced with a second layer of canvas at its base. The kit bag has a side stitched seam, stiching around the base and top opening. A circular lightweight tan canvas flap is stitched to the top opening at the side seam.On the side if the kit bag is a red cross on a white background, surrounded by a circular yellow line. It also has the numbers 20568, with the words JAS.T. A. RALPH, A.A.M.C, A.I.F., AND 4.M.D. The base of the kit bag has a map of Australia in black ink, with 4.M.D printed in black ink above the map. "Sth. Aus." and numbers "20568" are printed in black ink over the map of Australia. The marking 'broad arrow' is printed in black ink on the inside of the top opening.world war one, kit bag

Map, Underground Survey of Mines Bendigo District.Frederick the Great Mine, Sebastian. A collection of nine (9) maps of the mine, Signed H.S.Whitelaw Field Geologist 4.1.99 with some notes relating to same, including a: * Typed overview of the operation of the mine in 1912. * Clipping from Victoria its Mines and Minerals detailing the operation of the mine from its beginning in 1863 where it was first worked for alluvial. Charlton & Co., and Mr. Glass mentioned in article.A.S.Whitelawmap, bendigo, frederick the great mine

Used as disposable seals by The Met to permit resuability of envelopes. 47 copies held.A stationery that is associated with a now-dissolved corporate body which existed in the 1980s. Likely well-used by employees of said body.A stack of envelope labels (47 in total). The logo and the text "The Met" are printed on top; serial numbers (10029 and 7605-88) flank them. Below are 3 blank lines for writing in an address to the receiver, followed by instructions that indicate its intended use: to permit reusability of envelopes (i.e., sealing an envelope with the label adhering to its opening allows removal of sender information without destruction of the envelope). At the bottom is a blank dotted line for the name of the sender.public transport, the met, letters, stationery

This deck cannon is believed to be a replica Carronade as it has no foundry mark, year of manufacture, proof marks or weight of carronade on it. However, its design matches the design of Carronades used in the early to mid 19th century. History: The carronade was designed as a short-range naval weapon with a low muzzle velocity for merchant ships, but it also found a niche role on warships. It was produced by the Carron iron works and was at first sold as a complete system with the gun, mounting, and shot altogether. Carronades initially became popular on British merchant ships during the American Revolutionary War. A lightweight gun that needed only a small gun crew and was devastating at short range was well suited to defending merchant ships against French and American privateers.   Its invention is variously attributed to Lieutenant General Robert Melville in 1759, or to Charles Gascoigne, manager of the Carron Company from 1769 to 1779. In its early years, the weapon was sometimes called a "mellvinade" or a "gasconade". The carronade can be seen as the culmination of a development of naval guns reducing the barrel length and thereby the gunpowder charge. The Carron Company was already selling a "new light-constructed" gun, two-thirds of the weight of the standard naval gun and charged with one-sixth of the weight of the ball in powder before it introduced the carronade, which further halved the gunpowder charge. The theory of its design was to use less powder and had other advantages that were advertised in the company's sales pamphlet of the time, state. The smaller gunpowder charge reduced the barrel heating in action, also reduced the recoil. The mounting, attached to the side of the ship on a pivot, took the recoil on a slider, without altering the alignment of the gun. The pamphlet advocated the use of woolen cartridges, which eliminated the need for wadding and worming, although they were more expensive. Carronades also simplified gunnery for comparatively untrained merchant seamen in both aiming and reloading that was part of the rationale for adopting the gun. Other advantages promoted by the company were. The replacement of trunnions by a bolt underneath, to connect the gun to the mounting, reduced the width of the carriage that enhanced the wide angle of fire. A merchant ship would almost always be running away from an enemy, so a wide-angle of fire was much more important than on a warship. A carronade weighed a quarter as much as a standard cannon and used a quarter to a third of the gunpowder charge. This reduced charge allowed Carronades to have a shorter length and much lighter weight than long guns. Increasing the size of the bore and ball reduces the required length of the barrel. The force acting on the ball is proportional to the square of the diameter, while the mass of the ball rises by the cube, so acceleration is slower; thus, the barrel can be shorter and therefore lighter. Long guns were also much heavier than Carronades because they were over-specified to be capable of being double-shotted,(to load cannons with twice the shot, for increased damage at the expense of range). Whereas it was dangerous to do this in a carronade. A ship could carry more carronades, or carronades of a larger caliber, than long guns, and carronades could be mounted on the upper decks, where heavy long guns could cause the ship to be top-heavy and unstable. Carronades also required a smaller gun crew, which was very important for merchant ships, and they were faster to reload. Additional notes: Cannon cast in England, Wales and Scotland had their imperial weight chiselled or engraved in the format of 4-2-0 on the bottom of the cascabel, indicating the weight of the cannon as 4 hundredweight, 2 quarters and 0 pounds. Since a hundredweight equals 112 pounds and a quarter weight is 28 pounds the total weight is 504 pounds or about 228 kilograms. The small bore replica carronade and carriage is part of a collection of nineteenth Century Flagstaff Hill Guns and cannons, and is a representation of carronades used from the early 18th up to the 1850s on merchant and military ships particularly the British Royal Navy until 1850. This example is not significant in the historic sense but demonstrates the type of artillery used aboard vessels of the time for protection & offensive military actions. Cannon, cast iron, small smooth bore cannon on the stepped wooden carriage with wooden wheels. It appears to fire a 12-pound cannonball. The Cannon barrel can have its elevation adjusted via a sliding sloped block at the rear of the cannon. Gun carriage has loops for locating and holding the carriage in position with the use of ropes. It is believed this carronade is a replica of a mid-to-late 19th-century Carronade cannon.Cast into metal; [Royal emblem of Queen Victoria (VR "Victoria Regina")]warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, cannon, naval cannon, cannon on carriage, 19th century cannon, fortifications, smooth bore cannon, 12 pounder, carronade, artillery, replica, deck cannon, cannon in carriage, ship cannon