Mattock head only. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

1. Scythe - Agricultural hand-tool for mowing grass or harvesting crops.Horse drawn machinery and tractors replaced the scythe. The scythe with the metal rod may have been fitted later, replacing a wooden rod. 2. Fern Hook - Used for slashing or reaping plants 3. Long handled sickle - A traditional single handed agricultural tool with a curved metal blade and handle. Used for harvesting. 4. Mattock - Heavy duty hand tool featuring a long handle and a stout dual-headed metal blade used in many ways eg. digging 5. Pitch Fork - An agricultural tool used to pitch loose material such as hay or leaves. 6. Pick Axe - A tool used to break and pry at the pointed end and the axe end for hoeing, skimming and chopping through roots.Douglas used these tools 70-80 years ago (1950s) mainly on his family's farm at Dandongadale near Buffalo River for harvesting as well as clearing land. Some may have been used on a family property at Whorouly as well and at the Dederang family properties from 1964. At Dederang the family had a tobacco farm and a dairy farm - (now 4 properties). Douglas Petzke had a soldier settlement farm in Dederang. Property was 'Woodside' about 1 km south east of the Dederang store. Douglad had 100 acres on each of the top and bottom sides. The bottom side was the dairy farm and the top side was beside House Creek. The farm totalled more than 200 acres. Douglas left Dederang c 2000 and now (2026) lives at Baranduda.1. Scythes x2 - Long wooden and one is metal curved rod with offset handles and a curved 600 mm long steel blade projecting from one end 2. Fern Hooks x2 - Wooden handle with curved steel blade attached at one end 3. Long-handled Sickles x2 - Both have wooden handles one of which is made from a branch of a 'tree' hence the curve. The blade is curved metal 4. Mattock - A long wooden handle with a dual-headed metal blade 5. Pitch Fork - A long wooden handle with three curved metal prongs attached at one end 6. Pick Axe - A wooden handle with a T-shaped metal attachment fixed perpendicularly to one end. The metal has a pointed end on one side of its head and a broad flat blade on the other side. Fern Hook - "116-319 1250 forge steel" Mattock - "783 4 1/2 (half) lbs" "oomatty". On the other side "LTD" and "AM"farm tools, deans family, douglas petzke, dederang

Large pickaxe head. Used for loosening the soil in digging, shaped like a mattock, but having both ends pointed. Iron pickaxe head, large, (no handle)pickaxes, tools

Medium sized pickaxe head. Used for loosening the soil in digging, shaped like a mattock, but having both ends pointed. Iron pickaxe head, medium size, (no handle)pickaxes, tools

Chelsea Football Ground, Fence erection, working bee for the Chelsea Football Club. Group L/H - Tom Robinson, (wearing white apron) Les Green, Roy Beardsworth ( Mayor , 1930,.31,38,39.) Bill Barfoot, Bill Fricke, Jim Smith. Mattock in foreground, blue stone bricks, crow bar because soil was soil so hard.Black and white photo mounted on cardboard. chelsea football ground, erecting fence, les green, roy beardsworh, bill barfoot, bill fricke

An Adze is versatile cutting tool similar to an axe but with the sharp cutting edge perpendicular to the handle rather than parallel. The wooden handle is straight and the blade has a slight curve. They are used for smoothing or carving wood such as sleepers An adz, with its long handle, cuts with the grain, and the nature of the chips is different from an axe. While they have a similar shape, they should never be confused with a hoe or mattock used for agriculture and horticulture. Adze - smalltimber tools

An Adze is versatile cutting tool similar to an axe but with the sharp cutting edge perpendicular to the handle rather than parallel. The wooden handle of this adze is shaped like an axe handle and the blade also has a slight curve. They are used for smoothing or carving wood such as sleepers An adz, with its long handle, cuts with the grain, and the nature of the chips is different from an axe. While they have a similar shape, they should never be confused with a hoe used or mattock for agriculture and horticulture.Carpenter's adze or cutting adze The tapered eye in the adze and tapered handle end forces the head to tighten when swung; but enables removal of the head for sharpeningtimber tools

Ushabti are tiny anthropoid (human-shaped) figures placed in the tombs of wealthy Egyptians. They were intended to do the work of the deceased in the afterlife. This purpose is implied through their name, which may have derived from the Egyptian word “to answer”. The Burke Museum in Beechworth is home to a particular ancient Egyptian Ushabti figure. This artefact was donated to the Museum in 1875. No details about how it left Egypt, arrived in Australia, and where it was located before this donation are known. The Nineteenth Century, when this artefact was donated, was a period when many museums acquired items of ancient Egyptian heritage. Many of these items were procured in less than desirable circumstances, having often been looted from ancient tombs and sold to tourists without documentation as to their original location and/or accompanying grave goods. These artefacts were also divested through partage (the trading of artefacts for funds); however, the latter is unlikely to have been the case for this artefact. Since the Ushabti was donated by an unknown donor, it is likely to have been in a private collection rather than an institution. Ushabti can be dated using iconographic analysis which is non-invasive and provides a comprehensive study of the artefact. The later period of the 18th Dynasty marked the beginning of an increase in both the inclusion of Ushabti as essential funerary items and the creation of Ushabti with tools. From this period, they are no longer depicted without tools. Depictions of tools including gardening hoes are frequently depicted grasped in the Ushabti’s hands whilst items like the seed-bag are depicted hanging on the back rather than in an alternative position. This Ushabti figure grasps a gardening hoe and a mattock and a small seed bag surrounded by a yoke bearing water jars are depicted on the upper back of the Ushabti. These features are essential in helping narrow this dating to the late 18th and before the early 20th Dynasty. The position of this seed bag also provides dating information. In the early 18th Dynasty this bag was consistently drawn on the front of the figurine; however, by the reign of Seti I, this feature moved to the back. Thus, since the seed bag is located on the back of this Ushabti, it cannot date to the early 18th Dynasty. By the 19th Dynasty, Ushabti’s were increasingly made from either faience or terracotta. The availability of these materials in Egypt resulted in the increase of Ushabti production with tombs containing many more figurines than previously seen. The Ushabti held by the Burke collections is made from terracotta. Terracotta was rarely used for Ushabti before and during the early 18th Dynasty with only the odd appearance until the late 18th Dynasty and becoming common through that period until the late Third Intermediate Period. Whilst the face has been damaged, there is no evidence for the Ushabti having been provided with an Osirian false beard. This omission rules out a dating of later than the 25th Dynasty when beards became prominent. The inscriptions also date the Ushabti to the New Kingdom. This is because of the use of sḥḏ (“to illuminate”) with Wsjr (“Osiris”) which only occurs in these periods. Therefore, considering all these elements, the Ushabti can be confidently be dated to between the late 18th to early 19th dynasty.Artefacts like this Ushabti are no longer exclusively representative of their origins in burial assemblages and significance in the mythology of the Egyptian afterlife but are also significant for the accumulated histories they have gained through travel. The movement of this artefact from Egypt to Australia allows insight into the collecting habits of the 19th century, and in particular, the reception of ancient Egyptian artefacts in small rural museums. The procurement of Egyptian artefacts was a social trend around the late 1800s to early 1900s. Egyptian artefacts were considered curiosities and recognised for their ability to attract public attention to museums. They were also utilised in Australian museums, like the Burke Museum, to connect the collection to one of the oldest civilisations known to man and since Australia was considered a “young” country by European settlers, this was vital and derived from an interest in Darwin’s “Origin of the Species” 1859. Furthermore, there was a culture of collecting in the 1800s amongst the affluent in English society which led to the appearance of many Egyptian artefacts in private collections. The acquisition of this Ushabti figure is not certain, but it was likely donated from a private collection rather than an institution. This particular artefact is significant as an example of a high-quality Ushabti representative of those produced during the late 18th or early 19th century. It provides insight into the individualism of an Ushabti and the mythology of ancient Egypt. It also provides an example of the types of items required in the tomb assemblages of this period and reinforces the importance of ensuring the successful afterlife of the deceased through art. This Ushabti belonged to a woman named Taweret-Khaiti, Chantress of Amun, in the late 18th Dynasty or early 19th Dynasty (c.1292 BC) of the Egyptian New Kingdom. It likely comes from an undetermined tomb in the locality of Thebes. This figure is made from Nile silt clay (a polyester terracotta; clay sourced from the banks of the Nile River) which was a popular material for Ushabti construction in the early 19th Dynasty. It is in a fair state of preservation (with the exception of a break through the centre) and originally made to a high quality. The face has been damaged but the eyes and eyebrows are clearly marked with black ink and the sclera painted white. The Ushabti is painted a light brown/yellow colour and features a vertical line of inscription down the lower front. The Ushabti wears a large wig and and a schematic collar. The arms are painted light brown and depicted crossed with bracelets around the wrists. It grasps a hoe and mattock. A yellow seed-basket is depicted on the Ushabti’s back. These features represent the likelihood that this particular Ushabti was intended to complete farm work for the deceased in the next life. There would have been additional Ushabti of similar design within the tomb who worked under the supervision of a foreman Ushabti. The foreman Ushabti would be depicted dressed in the clothing of the living. The inscriptions are painted freehand in black ink and written in a vertical column from the base of the collar to the foot pedestal on the front of the Ushabti. The owner of the Ushabti could elect to have the figures inscribed with their name, the Ushabti spell and any other details they deemed necessary. In the case of this example, the Ushabti is inscribed with the owner’s details and is an abbreviated version of the standard Ushabti formula. This formula ensured that the Ushabti would complete the desired task in the afterlife when called upon by the deceased. Ushabti which were not inscribed would represent their intended purpose through design; however, this Ushabti, like most made in the late 18th Dynasty, conveys its purpose both through both design and inscription. The inscription is as follows: sHD wsir nbt pr Smayt imn tA-wr(t)-xai(ti) mAa xrw which translates to: "The illuminated one, the Osiris (the deceased), the mistress of the household, Chantress of Amun, Taweret-Khaiti, true of voice (justified)"ancient egypt

This is a set of seven photographs of personnel posted to the Army Survey Regiment in 1989. These formal group photos of three of of the four Squadrons, Officers, and Warrant Officers/Sergeants were probably taken after a CO’s Parade. There were no photos of Headquarters Squadron in this set of negatives. LTCOL John Winzar was the CO of the Army Survey Regiment from 1987 to 1989 and WO1 Neville Stone was the RSM from 1988 to 1990. This is a set of seven photographs of personnel posted to the Army Survey Regiment, Fortuna Villa, Bendigo Victoria in 1989. The photographs are on 35mm negative film and were scanned at 96 dpi. They are part of the Army Survey Regiment’s Collection. .1) to .2) - Photo, black & white, 1989. Officers Mess: Back row L to R: CAPT Roger Hancock, CAPT Graeme Wastell, unidentified US Exchange officer, CAPT John Greenwell, MAJ Owen Moss, MAJ Terry Edwards, unidentified nursing officer. Front row L to R: 2IC MAJ Rob McHenry, MAJ Laurie Newton, CO LTCOL John Winzar, ADJT CAPT Greg Tolcher. .3) - Photo, black & white, 1989. Senior appointments: L to R: RSM WO1 Neville Stone, CO LTCOL John Winzar, 2IC MAJ Rob McHenry, ADJT CAPT Greg Tolcher. .4) - Photo, black & white, 1989. SGTs Mess: Back row L to R: WO2 Steve Hansen, SGT Bob Garritty, SGT Steve Gloster, SGT Trevor Poll, unidentified, SSGT Brad Peppler, SGT Noel McNamara, SGT Mick Ferris, SSGT Peter Mustart, SGT Steve Burke, SGT Frank Lenane unidentified (x2), WO2 Bill Jones. 3rd row L to R: SGT Bruce Hammond, WO2 Neil ‘Ned’ Kelly, SSGT Jeff Willey, unidentified, SGT Chris Edwards, SSGT Dennis Learmonth, SSGT Rick van der Bom, SGT Paul Hopes, SSGT Kevin Boehm, SGT Graham Johnston, SGT Peter ‘Jack’ Elverd, SGT Russ Mollenhauer, WO2 Ian ‘Rock’ Thistleton, SGT Martin Evans. 2nd row L to R: unidentified (x2), WO2 Pat Lumsden, SGT Doug Carswell, WO2 Adrian ‘Charlie’ Creedy, SGT Greg Anderson, SGT Mick Minchin, SSGT Phil ‘Fred’ Smalley, SSGT Andy Boath, SGT John ‘Stormy’ Tempest, SGT Roger Rees, SGT Paul ‘Hutch’ Hunter, SGT Bob Bright, SGT Brian Collings. WO2 Rob Bogumil. Front row L to R: WO2 Ralph Chant, WO1 Allan Adsett, WO1 Rowan Gillies, WO1 Stu Thaxter, WO1 Peter Presser, RSM WO1 Neville Stone, WO2 Barry Lutwyche OAM, WO1 Russell ‘Rusty’ Williams, WO1 Stevo Hinic, WO1 Trevor Osborne, WO2 Alan Bunn, WO2 George Graham. .5) - Photo, black & white, 1989. Cartographic Squadron: Back row L to R: CPL Greg Hilson, SPR Chris Wride, SPR Stuart Adrain, SPR Charmian McKean, CPL Raelene (Munting) Brodie, CPL Craig Kellet, SPR Ian Brown, SPR Steve Salvestro, SPR Mick Duggan, SPR Steve Dee, CPL John Martin, SPR Toni Wright, SPR Del Madge. 3rd row L to R: SPR Bob Bousfield, CPL Allan Choat, SPR Steve Wainwright, CPL Damian Killeen, SPR Peter Smyth, CPL Brendon McKinless, SPR Geoff Steegrestra, CPL Peter Johnson, SPR Lee Palfrey, SGT Graham Johnson, SPR Malcolm Oliver, LCPL Sandy Dee, SPR Grant Davis. 2nd row L to R: CPL Dave Murphy, SPR Tony Jackson, SPR Dick Crawford, SPR Danilo Cesconetto, CPL Jeff Le-Fevre, SPR Bruce Graham, CPL Mark Donnelly, SPR Gayle Humphrey, SPR Jodi Seath, SPR Nadine (Paul) Read, SPR Di (Thomas) Soutar, SPR Caroline Wyatt, CPL Barry Hogan, CPL John Reid, SPR Chris Wynn. Front row L to R: SGT Bob Bright, SGT Doug Carswell, SGT Paul ‘Hutch’ Hunter, SGT Martin Evans, SSGT Rick van der Bom, WO2 Adrian ‘Charlie’ Creedy, WO1 Stevo Hinic, OC CAPT John Greenwell, WO1 Colin Cuskelly, WO2 Ian ‘Rock’ Thistleton, SSGT Dennis Learmonth, SGT Paul ‘Fluff’ Cheater, SGT Brian Collings. .6) - Photo, black & white, 1989. Air Survey Squadron: Back row L to R: CPL Andy Love, CPL Glyn Mattock, SPR Peter Murphy, SPR John ‘Doc’ Commons, SGT Noel McNamara, SGT Steve Gloster, SPR Neil ‘Tex’ Houston, SPR Peter Coles, CPL Ian Nelson, SPR David Lankshear. 3rd row L to R: CPL Noel Brinsmead, SPR Steve Wegener, CPL Peter Peterson, CPL Max Watson, SPR Jeanette Dury-Lane, SPR Simone Rodgers, SPR Derek Percival, SPR Stuart Midgley, SPR Vaughn Ralston, CPL Darren Wilkinson, SGT Frank Downie. 2nd row L to R: SPR Darren Scott, SPR Frank Savy, SPR Stuart Bowd, SPR Ailsa (Sorby) Miller, SPR Phuc ‘Charlie’ Tran, SPR Paula (Golding) Brinsmead, CPL Chris ‘Charlie’ Brown, CPL Steve Coulson, SPR Chris Woodman, SPR Shane Torrens, CPL Greg Gilbert, unidentified. Front row L to R: SGT Paul Hopes, SGT Roger Rees, SSGT Phil ‘Fred’ Smalley, WO2 Barry Lutwyche OAM, WO1 Peter Presser, WO1 Russell ‘Rusty’ Williams, OC MAJ Laurie Newton, WO2 Neil ‘Ned’ Kelly, SSGT Andy Boath, SGT Peter ‘Jack’ Elverd, SGT Mick Ferris, SGT Bruce Hammond. .7) - Photo, black & white, 1989. Lithographic Squadron: Back row L to R: SPR Andrew Arman, SPR Colin Yeats, CPL Warren ‘Waldo’ Shirley, SPR Michelle Evans, SPR Shona Hastie, CPL Paul Baker, SPR Graeme Spong. 3rd row L to R: SPR Mark McCullogh, CPL John ‘Flash’ Anderson, CPL Peter Dillon, SPR Ross Anza, CPL Peter Breukel, CPL Kevin ‘Chuck’ Berry, SPR Doug Whiteside, SPR Damien Cole, SGT Frank Lenane. 2nd row L to R: CPL Graeme Priestley, SPR Gavin McLean, CPL Stuart Ridge, SPR Gary Lord, SPR Janet Murray, SPR Ken Labouchardiere, CPL Ken Peters, CPL Mick ‘Buddha’ Ellis, SPR Darren ‘Barney’ Maher, SPR Greg Howell. Front row L to R: SGT Bob Garritty, SSGT Jeff Willey, WO1 Trevor Osborne, WO2 Rob Bogumil, OC MAJ Terry Edwards, WO2 Bill Jones, WO2 Steve Egan, SGT Keith Quinton, SGT Steve Burke..1P to .7P – no annotationsroyal australian survey corps, rasvy, army survey regiment, army svy regt, fortuna, asr, litho sqn