The photograph is part of a series of five, depicting the Aniston in dry docks in Hoboken, New jersey, on the 26th of August, 1947. This photograph shows the front of the ship while in the dry dock.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.Black and white photograph of the Aniston in dry dock, in Hoboken, New Jersey.Handwritten in black ink on reverse: ANISTON IN DRY DOCK / HOBOKEN NEW JERSEY / 26.8.47 / D (in pencil). There is also a small blue mark in the bottom left hand corner.allan-quinn, photograph, aniston, dry-docks, hoboken, new-jersey

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

The model has yellow cream deck on grey body and red bottom. It stands on greay base with texts "U.S. BATTLESHIP BB-62 NEW JERSEY". The ship has 3 turrets, 2 at the front, 1 at the back and a helicopter standing at the end.U.S. BATTLESHIP BB-62 NEW JERSEY LENGTH OVERALL 270.5m BEAM 32.95m DRAUGHT 116m DISPLACEMENT STANDARD 45000H DISPLACEMENT MAXIMUM 59000H POWER 212000HP SPEED 33KTmodel - combat ship, uss new jersey, uss forrest sherman

A black and white photograph of the battleship USS New Jersey refurbished at a cost of US$27 million to engage targets, as far as thirty (30) miles inside North Vietnam. The New Jersey was recommisioned after President Nixon stopped the aerial bombing of the Northphotograph, uss enterprise, tonkin gulf, president nixon, gibbons collection catalogue

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection.A black and white photograph of the American 7th Fleet battleship, the USS New Jersey, operating on the Gunline, Tonkin Gulf, North Vietnam during 'Operation Sea Dragon'. This is the aft view.A black and white photograph of the American 7th Fleet battleship, the USS New Jersey, operating on the Gunline, Tonkin Gulf, North Vietnam during 'Operation Sea Dragon'. This is the aft view.photograph, 7th fleet, uss new jersey, operation sea dragon, tonkin gulf, gibbons collection catalogue, denis gibbons, photographer, vietnam war, gunline, north vietnam

A coloured Photograph of an artists impression by Lt Com E Ramstead of the US Battleship USS New Jersey which operated with the US 7th Fleet in the Tonkin Gulf, North Vietnam, as a major gun platform on the "gunline",engaging North Vitnamese targets.photograph, uss new jersey, lt com e, ramstead, tonkin gulf, 7th fleet, gibbons collection catalogue

Denis Gibbons (1937 – 2011) Trained with the Australian Army, before travelling to Vietnam in January 1966, Denis stayed with the 1st Australian Task Force in Nui Dat working as a photographer. For almost five years Gibbons toured with nine Australian infantry battalions, posting compelling war images from within many combat zones before being flown out in late November 1970 after sustaining injuries. The images held within the National Vietnam Veterans Museum make up the Gibbons Collection.A black and white photograph of the American 7th Fleet Battleship, the USS New Jersey operating on the "Gunline", Tonkin Gulf, North Vietnam. During 'Operation Sea Dragon' they open fire on land targets thirty miles inside North Vietnam. The one (1) ton shells had a special 'rocket assist'.photograph, us 7th fleet, uss new jersey, tonkin gulf, gunline, operation sea dragon, gibbons collection catalogue, photographer, vietnam war, denis gibbons, north vietnam

Electric Motor driven automotive horns were commonly used from circa 1915 to circa 1935 on cars, trucks and some tractors They make a distinctive deep and loud 'Ahooga' growl sound. Commonly used on American made automobiles, but also on a few European makes.Car horn: 'North East Electric Co' Electric Motor Driven , 12 Volt made by North East Electric Company of Rochester, New Jersey, U.S.A. 1920's When horn button, usually on top of steering wheel, is pressed, the current activates the motor, which turns on a toothed ratchet, producing a 'Ahooga' sound, which is greatly magnified through the trumpet at the front.Brass badge, acid etched: "North East Electric Co./ Rochester, New Jersey/Pat Pen/Model X/Volt 12/Serial No"; with 'North east Electric' logo on leftcar horn, vintage car horn, klaxon horn, motor driven horn

Note associated with this photograph, "Removed from Record Book (B91.453) labelled, 'Stock Breeding Record,' Purple and Black [cows.]" Note by T.H. Kneen 8 April 1992, "Jersey cows moving from pastures at west end of property past the Egg-Laying Competition pens, heading for the milking shed."Sepia photograph. 3 jersey cows walking beside a fence with egg laying pens behind. Man walking behind them.stock breeding record, cows, jersey cows, egg-laying competition, dairy, lagoon paddock, milking shed, poultry pens, stockman

The photograph is part of a series of five, depicting the Ariston in dry docks in Hoboken, New jersey, on the 26th of August, 1947. This photograph shows the front and side of the ship while in the dry dock.This is a photograph from the Allan Charles Quinn collection which is a collection of letters and photograph depicting aspects of life at sea for a young man in the era immediately following World War II.A black and white photograph of the Ariston in dry dock, in Hoboken, New Jersey.Handwritten in black ink on reverse: ARISTON IN DRY SOCK / 26.8.47 / D (handwritten in pencil). There is also a small mark in blue ink in the bottom right hand corner.allan-quinn, photograph, dry-docks, hoboken, new-jersey, ariston

This football jersey was worm by R. A. Slocombe while a member of the 1st XVIII in 1935. Mr Slocombe was in year 11 at the time. The item was badly damaged while in storage during World War 2. It is the only example of 1930's sport attire held by the schoolThe jersey has social significance because it exemplifies uniform requirements and manufacture during the 1930's. A black sleeveless, knitted, woollen football jersey with red collar. It has an 11cm wide red band on waist and a thin gold line 4cm above the hemline. There is a cotton bound neck opening with 3 buttonholes on left side of garment (buttons missing). The College insignia has been roughly appliqued at left breast. football, football jersey, sport uniform, 1936, r a slocombe

Unframed realistic drawing of a jersey cow.christine rushworth, drawing, cow

Frank Wright was a renown resident of Smeaton, where he was born on 2 August 1901. 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.This single sheet of typed paper has the printed header of the New Zealand Brass Bands' Association and is a letter of reference for Frank Wright signed by John G Osborne, the Secretary. The typing is purple.Signature in penfrank wright, john g osborne, new zealand brass bands' association, reference

Blue and gold Ballarat School of Mines Cycling Jerseytime capsule, cycling jersey, ballarat school of mines

Framed document. Governor Bruce King of The State of New Mexico issued a Proclamation Recognising Australian Contribution in Vietnam and Proclaiming October 2nd 1992 as "Australian Vietnam Forces Canberra Memorial Day"Seal of The US Secretary of State Signatures of Sec of State and Gov New Mexicoframed document, governor bruce king

Compiled by the Geological Survey of N.S.W., Division of Regional Geology. Topographical base compiled from Snowy Mountains Hydro Electrical Authority, Department of Lands, County maps and Snowy Lease Map. Other sheet adjoin this map. There are 13 formation sections grouped into 9 - Quaternary, Tertiary, Middle Devonian, Lower to Middle Devonian, Lower Devonian, Upper Silurian, Silurian, Upper Ordovician and Ordovician.Large coloured map showing geological features, faults, bores, rivers and mineral deposits.Scale of map, longitude and latitude, river names. "Tallangatta 1:250,00" written in black pen.tallangatta, new south wales, geological survey, topographical base, snowy mountains hydro electrical authority, department of lands, snowy lease map, department of mines, quaternary, tertiary, middle devonian, lower to middle devonian, lower devonian, uper siluran, silurian, upper ordovician, ordovician

Ill, p.48.non-fictionDescriptions of New Zealand railway accidents railway accidents - new zealand, railway safety - new zealand

Index, ill, p.240.non-fictionThis book explains how dependence on road transport in Australia and new Zealand has developed and sets out a vision for the future of local and interstate transport in both countries.transportation - australia, transportation - new zealand

This book of Illustrated Directions was produced for use with the Davis New High Arm Vertical Feed (VF) Sewing Machine. The first model of the High Arm was produced in 1881, and the ‘New’ model, Model 2 VF, was introduced from 1883 and continued at least until 1885, when the Model 3 VF was manufactured. Job Davis, an inventor, showed his Davis Sewing Machine to two brothers in Watertown. The brothers, John and Joseph Shaldon, who founded the Davis Sewing Machine Company in February 1868 in Watertown, New York. The firm moved to Ohio in the 1890. Its early sewing machines were known as the Vertical Feed machines. These machines differed from others, in that there were two presser feet that moved and held the cloth as the needle went in and out of it. This type of action was also called ‘walking foot’ by makers of similar machines. Other machines used a feed dog below the machine’s bed to move the fabric. The Davis Company was awarded a Patents for its improvement to sewing machines. London offices were set up at 54, Queen Victoria Street, London in 1982. It was known as the Vertical Feed Sewing Machine Company. An article published in March 1885 states that the London Manager of the Vertical Feed Sewing Machine Company has 300,000 machines world-wide, including 4,000 in England alone. It claimed that the Auxiliary Forces Uniform and Equipment Company in Limerick, Ireland, was running its machines with steam power and could produce first-class work at the rate of 1,500 stitches per minute. The hand stitched binding of the manual is an example of early book binding processes. The is significant for its relationship to the Davis New High Arm Vertical Feed sewing machine, which was invented in 1866 and became popular in the domestic market. It was also used in industrial conditions as a labour-saving machine, one of the many machines that were part of the Industrial Revolution when steam power replaced manual power in many factories. Paper book with stitched binding. Printed text and illustrations contained within the 42-page booklet. The manual includes drawn diagrams and instructions for use of the Davis New High Arm Vertical Feed Sewing Machine, a foot treadle machine made in the 1880s. Front cover: "ILLUSTRATED DIRECTIIONS for the NEW HIGH ARM DAVIS Vertical Feed Sewing Machine and its Accessories and Attachments"flagstaff hill maritime museum and village, great ocean road, shipwreck coast, sewing machine manual, davis sewing machine, new high arm sewing machine, model 2 vf, vertical feed, sewing machine instructions, sewing machine directions, job davis, john sheldon, joseph sheldon, high arm sewing machine, watertown, new york, vertical feed sewing machine company, treadle, steam sewing machine, auxiliary forces uniform and equipment company, limerick, ireland

Twelve page booklet or pamphlet, black and white with dark blue overprinting, titled "PCC New Streamliner", giving details of the new Presidents Conference Committee (PCC) type of tramcar. Produced by the Transit Research Corporation of New York. Outlines the story of the tramcar type, its ride, safety aspects, illumination, heating and ventilation, windows, seat, wide aisles. On the rear covers lists the USA and Canadian cities that the vehicle has been sold too. Probably mid 1940's.Has AETA stamp on front cover with the letters "4J1" in ink as well.trams, tramways, pcc, transport equipment, tramcars, usa

Chauncey Jerome (1793–1868) was an American clock maker in the early to mid 19th century. He made a fortune selling his clocks, and his business grew quickly. Jerome was born in Canaan USA in 1793 son of a blacksmith and nail-maker. He began his career in Plymouth, making dials for long-case clocks where he learned all he could about clocks, particularly clock cases, and then went to New Jersey to make seven-foot cases for clocks mechanisms. In 1816 he went to work for Eli Terry making "Patent Shelf Clocks," learning how to make previously handmade cases using machinery. Deciding to go into business for himself, Jerome began to make cases, trading them to Terry for wooden movements. In 1822 Jerome moved his business to Bristol New Haven, opening a small shop with his brother Noble and began to produce a 30-hour and eight-day wooden clocks. By 1837 Jerome's company was selling more clocks than any of his competitors. A one-day wood-cased clock, which sold for six dollars had helped put the company on the map. A year later his company was selling that same clock for four dollars. The company also sold one line of clocks at a wholesale price of 75 cents and by 1841 the company was showing an annual profit of a whopping $35,000, primarily from the sale of its brass movements. In 1842 Jerome moved his clock-case manufacturing operation to St. John Street in New Haven. Three years later, following a fire that destroyed the Bristol plant, Jerome relocated the entire operation to Elm City factory. Enlarging the plant, the company soon became the largest industrial employer in the city, producing 150,000 clocks annually. In 1850 Jerome formed the Jerome Manufacturing Co. as a joint-stock company with Benedict & Burnham, brass manufacturers of Waterbury. In 1853 the company then became known as the New Haven Clock Co, producing 444,000 clocks and timepieces annually, then the largest clock maker in the world. Jerome's future should have been secure but in 1855 he bought out a failed Bridgeport clock company controlled by P.T. Barnum, which wiped him out financially, leaving the Jerome Manufacturing Co. bankrupt. Jerome never recovered from the loss. By his admission, he was a better inventor than a businessman. When Jerome went bankrupt in 1856 the New Haven Clock Company purchased the company. One of the primary benefits of Jerome purchasing New Haven in the first place was the good reputation of the Jerome brand and the network of companies that remained interested in selling its clocks. In England, Jerome & Co. Ltd. sold Jerome clocks for the New Haven company until 1904, when New Haven purchased the English firm outright. After his involvement with the New Haven Company in 1856, Jerome traveled from town to town, taking jobs where he could, often working for clock companies that had learned the business of clock making using Jerome's inventions. On returning to New Haven near the end of his life, he died, penniless, in 1868 at the age of 74. The company struggled on after Jerome's bankruptcy until after World War II, when the company endeavored to continue through disruptions caused by a takeover along with poor sales, finally having to fold its operations in 1960 a little more than 100 years after it had been founded. The item is significant as it is associated with Chauncey Jerome who had made a historic contribution to the clock making industry during the 19th century when he began to substitute brass mechanisms for wooden mechanisms in his clocks. This was said to be the greatest and most far-reaching contribution to the clock industry. Because of his discovery of stamping out clockwork gears rather than using castings, Jerome was producing the lowest-priced clocks in the world. That can only add to his significance as the major clock manufacture of the 19th century. Jerome may have made and lost, a fortune selling his clocks but was perhaps the most influential and creative person associated with the American clock business during the mid-19th century. Also, he had served his community as a legislator in 1834, a Presidential elector in 1852 and mayor of New Haven, Connecticut from 1854 to 1855.Eight day movement wall clock with Roman numerals, octagonal shaped rosewood veneered casing, hinged face with locking clip. Wound from front. Face has adjustment for Fast-to-Slow.Part paper label on back of case can just make out "Jerome" and "ight and One" probable meaning is "Eight and One Day" describing the movements operational time between winding the mechanism.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, clock maker, jerome & co, new haven, chauncey jerome, canaan

The Edison Fireside Phonograph Combination Type A model phonograph was an open horn model. This machine was produced around 1909, just after the introduction of 4-minute record cylinders in 1908.; the selection lever on the front was either 4 or 2-minute choice. This Fireside model has a fluted octagonal horn that attaches to the reproducer on the machine and is suspended by on ring by a horn crane attachment. The phonograph machine is powered purely by mechanical means, winding the crank handle on the side of the machine to start the belt-driven, spring-loaded motor inside. The sound comes from a pre-recorded, vertical cut record cylinder, which slides over the Mandle, a smooth rotating drum. The reproducer, an all-in-one needle, amplifier and speaker, is lowered onto the cylinder, the needle picks up the sound and plays it on the speaker and the attached horn amplifies the sound. The phonograph machine was invented by Thomas Alva Edison in the late 19th century. Edison adopted the idea from the technology of the telegraph machine. He patented the phonograph in early 1878. It was able to record sound and play it back. This amazing invention opened up a whole new world of entertainment, where wax cylinders of pre-recorded sound could be purchased with a wide variety of music and played over and over. The first wax cylinders were white and used a combination of bees' wax and animal fax or tallow. By 1892 Edison was using 'brown wax' cylinders that ranged from cream through to dark brown. The Edison Phonograph Company was formed in 1887 to produce these machines. He sold the company in 1855 to the North American Phonograph Company but bought that company in 1890. He then started the Edison Spring Motor factory in 1895, and the National Phonograph Company in 1896. In 1910 the company became Thomas A. Edison Inc. In 1898 Edison produced the Edison Standard Phonograph, the first phonograph to carry his own trade mark. He began mass producing duplicate copies of his wax cylinders in 1901 using moulds instead of engraving the cylinders. The wax was black and harder than the brown wax. The ends of the cylinders were bevelled so that the title's label could be added. The last phonograph machine to use an external open horn was produced in 1912 due to the much more robust round records being invented. In 1913 Edison started producing the Edison Disc Phonograph. The company stopped trading in 1929.This Edison Fireside Phonograph model is significant for being one of the last models to have an external horn. It is also significant for its connection with the invention of the phonograph, which made music and sound available for domestic enjoyment. It was used for entertainment and education, even teaching languages. It signalled a new era of music that could be reproduced and played anywhere. It is also significant for its short time span of popularity, just a few decades, due to the growing use of records, which gave a much higher quality sound and were more robust.Phonograph; Edison Fireside Phonograph, Combination Type, Model A. It is in a wooden case with a domed lid, metal catches on each side and a folding wooden handle. It has a metal drum and a reproducer mechanism. The metal and wood crank handle starts the machine’s motor. A sliding lever at the front selects the speed for four- or two-minute cylinders. The inscribed plate has the maker, serial number, patents and other information. The reproducer also has an inscription. It has a curved metal open horn attachment. Made in Orange, New Jersey in c.1909. NOTE: the fluted octagonal horn is catalogued separately.Case front, in script, Edison’s early ‘banner’ decal “Edison” On the front of the machine “Thomas A Edison TRADE MARK” On the maker’s plate; "Edison Fireside Phonograph Combination Type" Serial number “14718” Around sound outlet; “C 4076” “REPRODUCER LICENCED FOR USE ONLY ON EDISON PHOTOGRAPHS SOLD BYT.A. EDISON INC.” At the front edge “4 MINUTES 2flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, gramophone, phonograph, music player, entertainment, audio equipment, edison, thomas a edison, horn, phonograph horn, amplifier, audio, sound recording, sound playback, phonograph machine, phonograph cylinder, external horn, edison phonograph company, wax cylinders, sound reproduction, edison spring motor factory, national phonograph company, thomas a. edison inc, crank-operated motor, open horn phonograph, 4 speed, 2 speed

This is a set of 23 photographs of surveyors and support staff in the field undertaking tasks in New Guinea 1956 – 1957. The surveyors were employed in the establishment of mapping and geodetic control for Project Cutlass, the “Ship-Shore” survey of the New Ireland province. In this survey operation surveyors used theodolites to observe horizontal and vertical angles and chains to measure base line distances between survey stations. Bob Skitch shown in photo .7P was in the 2nd year of his career in the Australian Army. He achieved the rank of Lieutenant-Colonel, and his last appointment was the CO of the Army Survey Regiment from 1976 to 1980.This is a set of 23 photographs of surveyors and support staff in the field undertaking duties during Project Cutlass located in New Ireland, New Guinea 1956 – 1957. The photographs were printed on photographic paper and are part of the Army Survey Regiment’s Collection. The photographs were scanned at 300 dpi. .1) - Photo, colour, 1956. Surveyors travelling main road from Kavieng to Namatanai, New Ireland. .2) - Photo, colour, 1956. Unidentified surveyors assessing recovery of their vehicle after bridge collapsed on west side of New Ireland. .3) - Photo, colour, 1956. Unidentified surveyors assessing recovery of their vehicle after bridge collapsed over flooded creek on west side of New Ireland. .4) - Photo, colour, 1956. Survey personnel L to R: Bev Uwins, John Lambie, Bob Thompson, New Ireland. .5) - Photo, colour, 1956. Survey base camp, New Ireland. .6) - Photo, black & white, 1956-1957. Geoff Helsham with possible human remains, New Ireland. .7) - Photo, black & white, 1956-1957. Bob Skitch undertaking survey observations using Wild T2 theodolite, New Ireland. .8) - Photo, black & white, 1956-1957. Chas Beach undertaking survey observations using Wild T2 theodolite, New Ireland. .9) & .10) - Photo, black & white, 1956-1957. Kev Parker (cook) New Ireland. .11) - Photo, colour, 1957. Brian Berkery taking a break, Top Manor Island, Lihir Island Group off New Ireland. Latitude -2° 46”, Longitude 152° 40”. .12) - Photo, colour, 1957. Survey base camp L to R: Chas Beach, Bev Uwins, Feni Islands, New Ireland. Latitude -4° 05”, Longitude 153° 45”. .13) - Photo, colour, 1957. A Hous Kiap. (Kiaps, known formally as district officers and patrol officers, were travelling representatives of the British and Australian governments), New Ireland. .14) & .15) - Photo, colour, 1957. L to R: Joe Farrington, Tom Royle Bob undertaking survey observations using theodolites from an improvised timber tower, New Ireland. .16) & .17) - Photo, colour, 1957. US Army ship FS216 used for ship-to-shore triangulation docked at Rabaul, New Britain. .18) - Photo, colour, 1957. US Army ship FS216 used for ship-to-shore triangulation docked at Kavieng, New Ireland. Sight target on top of mast. .19) - Photo, colour, 1957. Survey personnel onboard US Army ship FS392, L to R: Peter Frodsham, Bob Thompson, Doc Reid, John Underwood, remainder unidentified, New Ireland. .20) - Photo, colour, 1957. Survey base line party heading ashore, New Ireland. .21) - Photo, colour, 1957. Survey personnel rowing US Army assault boat L to R: Kev Parker, Chas Beach, folded up survey beacons overhanging stern, New Ireland. .22) - Photo, colour, 1957. Les Bailey onboard US Army ship departing Rabaul, New Britain for Brisbane. .23) - Photo, colour, 1957. Ron Newman onboard US Army ship departing Rabaul, New Britain for Brisbane. Active volcano in background..1P to .23P annotated on back – ‘Operation Cutlass’, personnel names, the year and the location. royal australian survey corps, rasvy, army survey regiment, fortuna, a, army svy regt, asr, surveying