This edition has blue cloth binding with black and gold lettering and decoration with the busy Strand street scene on the front board. The magazine's cover, an illustration looking eastwards down London's Strand towards St Mary-le-Strand, with the title suspended on telegraph wires, was the work of Victorian artist and designer George Charles Haité. The initial cover featured a corner plaque showing the name of Burleigh Street, home to the magazine's original offices. The lettering on the plaque in Haité's design was later changed when Newnes moved to the adjacent address of Southampton Street. Six issues bound in one volume. Complete with half-title and title page with an index of contents. Yellow endpapers, slight foxing, and some tears on pages. Text and illustrating are clean and readable. Inside, the inner hinges are firm with no splits at the endpapers making for a sound and solid binding. All complete and in good order. No jacket. fictionThe Strand Magazine was a monthly British magazine founded by George Newnes, composed of short fiction and general interest articles. It was published in the United Kingdom from January 1891 to March 1950, running to 711 issues, though the first issue was on sale well before Christmas 1890. The Magazine contains articles and fiction by various authors including; chapters VI to XXI of The First Men in the Moon by H.G. Wells illustrated by Claude A. Shepperson; My Life on Devil's Island by Captain Alfred Dreyfus; Strange Stories from Life: three stories by Conan Doyle, An interview with Conan Doyle, and A Visit to Tennyson by Lewis Carroll and others. With illustrations throughout, many by notable illustrators of the time. https://en.wikipedia.org/wiki/The_Strand_Magazine#fiction, magazine

Believed to be used at first petrol/service station in LorneHistorical value to Lorne CommunityWooden cash register with metal, mechanical instrument to provide paper receipts A metal lever opens the draw.a hinged wooden lid covers the mechanism. Paper is still on the roller. In the draw are metal clips to hold the notes nil markingscash register, business,

This Summer Mess Dress Jacket was made in 1990 there is no information to who is was issued.The Jacket would have been when attending formal mess events during summer. White Jacket with Sergeants Insignia.There are no inscriptions or markingssummer mess dress jacket, australian army, 1990

The decoration ribbons have belonged to a US Military Service Person.These decorations are the originals that have belonged to a US Military Service Person.Four Coloured Cloth Ribbons mounted for wearing on Uniform. The ribbons correspond to the Army Commendation Medal, Good Conduct Medal, Armed Forces Expeditionary Medal and Overseas Service Ribbon. The bronze clasp on the Good Conduct Medal indicates that the decoration has been awarded more than once.There are no inscriptions or markings. us military medal ribbons

Large Wooden Rat Trap made from two pieces of Shaped wood that are pinned together solid construction with large metal spring.No visible markings

Donated to Sir Reginald Ansett Transport Museum. Worn by former Ansett employee.Complements the collection of air flight crew attire.Navy blue cotton pull-on bucket hat with button in middle of crown. Hanging loop on brim. Navy blue cotton inside lining.No inscriptions. No markings.

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot.Complements the collection of air flight crew attire.Pilot's peaked cap. White vinyl crown. Black cotton exterior band supported by rigid internal rafia band. No interior lining. Has perforated leather sweat band. Rigid peak/visor made of green vinyl, covered by navy blue cotton fabric. Insignia features a golden bird in flight, with a depiction of Australia, in red, as background, beneath a golden royal crown, and surrounded by a golden wreath of feathers. Navy blue mounting.No inscriptions. No markings.

Ansett Australia Hostess / Stewardess hair accessoryAnsett Airlines Hostess hair scrunchie with elastic insert. White cotton with navy blue 4mm stripes & irregular-shaped navy 6mm spots. Finished with red piping. Overall width (unstretched) 15cmNo inscriptions or markings.ansett airlines of australia, hostess / stewardess, hair accessory, scruchie, navy blue, white, red piping

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot. Frank McClelland.Complements the collection of air flight crew attire.Pilot's peaked cap. White vinyl crown. Black cotton exterior band supported by rigid internal rafia band. Acrylic interior lining. Has perforated leather sweat band. Rigid visor made of green vinyl, covered by navy blue cotton fabric. Insignia features a golden bird in flight, with a depiction of Australia, in red, as background, beneath a golden royal crown, and surrounded by a golden wreath of feathers. Navy blue mounting.No inscriptions. No markings.

Donated to Sir Reginald Ansett Transport Museum. Worn by former Ansett employee.Complements the collection of air flight crew attire.Navy blue cotton pull-on bucket hat with button in middle of crown. Hanging loop on brim. Navy blue cotton inside lining.No inscriptions. No markings.

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot. Complements the collection of air flight crew attire.Pilot's peaked cap. black cotton treated crown. black cotton exterior band supported by rigid internal rafia band. Acrylic interior lining. Has perforated leather sweat band. Rigid visor made of green vinyl, covered by navy blue cotton fabric. Insignia features a golden bird in flight, with a depiction of Australia, in red, as background, beneath a golden royal crown, and surrounded by a golden wreath of feathers. Black mounting. Gold strap above peak on frontNo inscriptions. No markings.peak cap, crown, black, cap badge

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot. Complements the collection of air flight crew attire.Pilot's peaked cap. Black wool treated crown. Black woollen exterior band supported by leather band. Acrylic interior lining. Has leather sweat band. Rigid black visor cotton fabric. Insignia features a golden bird in flight, with a depiction in red, as background, beneath a golden royal crown, and surrounded by a golden wreath of feathers. Black mounting. No inscriptions. No markings.peak cap, crown, black, cap badge

Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot. Complements the collection of air flight crew attire.Pilot's peaked cap. black cotton treated crown. black cotton exterior band supported by rigid internal rafia band. Has perforated leather sweat band. Rigid visor covered by black cotton fabric. Insignia features a red and black bird in flight, with a depiction in black as background, beneath a royal crown, and surrounded by a golden wreath of feathers. Black mounting. Gold strap above peak on frontNo inscriptions. No markings.peak cap, crown, black, cap badge

Industrial Forge from Newport Railway WorkshopsIndustrial Forge is an excellent example of equipment used in the early 19th century through to the mid 20th century for industrial iron working. It directly links a fabrication method that is widely used across several of the other collection pieces.Large Industrial Forge made of cast metal and wrought ironNo markings or inscriptions puffing billy, industrial forge

Animal ear punch (for identification).No discernable markings.ear punch, farming

Amongst Kurth Kiln Cultral Heritage Artifacts assumed left after the Foresty Commission moved from Kurth Kiln to Kalista LowManufactured rusty metal cutting blades attached to metal handle No physical markingsshears

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton tea) from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Purina 'fancy feast') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

The 'Cycles' series is an extension of two large scale provisional installations '150 Rotations', Melbourne Now, National Gallery of Victoria, and '356 Rotations', AC Institute in New York, which also re-purposed and aestheticised multiple paper units into hundreds of circular motifs.The immediate tactile connection with the material excesses and detritus of contemporary consumer culture informs the theoretical framework and conceptual understanding of Gower's practice, and associates her work with ideas of recovery and re-purpose, sustainable practice and thrift strategies that critique excesses of mass production and the notion of impermanence. This series was made ‘in transit’ during the artist’s recent studio residencies at Point[B], New York and Laughing Waters, Eltham, and at three temporary studios in Rome, Berlin and Collingwood.Kaleidoscope pattern of multiple segments (logos-Lipton 'Green Tea') from commercial (food) catalogues on commercial packaging (cardboard - round lid). No inscriptions and markingscycles, gower, collage, pattern, logos, commercialism, consumerism, repurpose, recycle, riverbend, laughing waters

Copper cylinder 330cm high,2 handles at base contains copper cone shape attached upside down Copper cup attached to cylinder top by a tripod. Heated by wood or gas fire underneath.no markings obvious

Belonged to donor's mother-in-law, the late Mrs Doris Keene.Two silver plated thimbles used for sewingNo inscriptions or markingsdomestic items, sewing

Belonged to the donor's mother-in-law, the late Mrs.Doris Keene.Pair silver coloured metal coated book ends with curled decorative design. Green baize on base.No inscriptions or markingsdomestic items, ornaments / decorative

Single page printed, A4 on green papernon-fictionOverview of Ferdinand Zerbe's family history including referenceszerbe ferdinand, zerbe gladys, zerbe cliff

The collar stud belonged to Charles Clarence Victor Schwerkolt (1892-1964). It was worn with a detachable collar on special occassions throughout his life after his marriage in 1929. Charles was father of Rosalie Whalen (nee Schwerkolt).Charles Clarence Victor Schwerkolt handled Mary Schwerkolt's business affairs in order to re-claim Schwerkolt Cottage from Australian Government confiscation during World Wars 1 and 2.A plain nickle plated man's shirt collar studNo inscriptions or markings

A small metal silver coloured box with a fitted lid.no inscriptions or markings