This is original and was contained in the desk.Vintage U-shaped damp adhesive strips to preserve your slides: U Feucht-Klebestreifen Made in Germany.walsh st miscellaneous

Black and white photographs pasted on cardboard for display purposes. (1) "Commencement of the U or W form. (2) "The Cordon." (3) "Horizontal 'Cordon'." (4) The Espalier with first pair of arms forming." (5) "Espalier Pear-Packham's Triumph. Reverse, A.W. Jessep c/o Artists Room No 42."u form, w form, cordon, espalier, a.w. jessep, horizontal cordon

This field telephone was developed primary for military purposes (World War I) and other wars/military interventions there after. It was the first "mobile" telephone which had a prime objective of providing isolated or "hard" to connect with locations instant communication links. Like a lot of "new" technologies it evolved from a war environment. This handset was used to connect offices and workshops, which due to their functions could not be co-located with their prime office(external workshops).The evolution from the early 1900s to the mid 1980s when mobile communication technology progressed in leaps and bounds from hard wire telephone communication to mobile digital receivers. This handset was manufactured by a subcontracted Australian company under the Australian Post Office mandate.This handset is significant in that it was donated by the Mount Beauty Timber yards and formed an integrated part of its communication system with its out lying work yards and buildings, before the mobile handset evolution. This handset was located in an environment which required a rugged and reliable day to day communications linkage as a vital part of its logistical (business) survival. As progress demands it, the faster that customers are satisfied with the service they obtain from suppliers the longer those services will be asked for and the longer and more profitable the supplier will be. This edict is as true for rural companies as it is for small or large city businesses. The customer is "always" right.This sturdy field telephone has a shell housing made in black bakelite material with a "U" form housing the major components (wiring, magneto and batteries). The main housing has two metal bells, with a central ringer between both, on the top part (to notify incoming calls). In front of the main structure is a box with the telephone hand piece (ear and mouth receptacles) nestled on two cradles. An on/off switch is activated when handset is removed from its cradle. On the front of the control box is a winder handle(to ring off) and in a field situation to activate/deactivate the magneto. To the left of the winder but on the the main body are two wind up connection buttons for the connection of operational wires (power)On the main right hand front body and next to two chrome switches is a plate with "L (next to the top switch) and below this "L2" and underneath this are "or" "EARTH". There is a plate fastened to the front of the handset and behind the winder with "REPLACE HANDSET WHEN FINISHED" and below the winder 'SERIAL NUMBER 5116"field telephone, world war ii field telephone f mk i

Refer Cat No 4783Document Form U.3 certificate of Enrolment, off white colour rectangular shape all print in black typing in black, hand signed in black by two people, stamped in purple on bottom RH corner.“Exemption has been recommended Area 18B, Oliver Foster, Tree Lopper Rosedale Rd St Ives, Hornsby 4 Mar 43”documents, certificates, enrolments

Wooden butter churn square in shape. L shaped winding handle on arm winds wooden paddles inside churn. Wooden square lid with handle is a newer addition to churn. Inside of churn has rounded edges to form U shape."1" has been branded on base.food technology, dairying, butter, dairy, churn, 1.

The notification to Mr Oliver Foster to tell him he will be notified in either off 3 ways to attend a medical examination. Refer Cat No 4783Military Post Card Eastern Command PRO FORM U 19A, rectangular shape, off white colour, front has green stamp & P.O stamp print in black, purple stamp hand written in black pen, rear all print in black stamped in purple hand written in black.On front in black pen, “Mr O FOSTER Rosedale St St Ives”, stamped, “Area 18B Hornsby”, rear signed by, “W Brown” area Officer 18B, date stamped, “25 Feb 1943”.card, post cards, medical, examinations

W.D.Chapman had a keen interest in botany and was particularly interested in Eucalyptus species. He was first to discover the tree which now bears his name on his numerous visits to the Kiewa power station which is situated near the Bogong High Plains. He was a Commissioner and later the Chairman of the State Electricity Commission of Victoria, the organisation in charge of building the Kiewa Hydro Scheme. The tree is a cross between two eucalypts. The trees are unique as they cannot procreate. There were two 'Bogong Gum' trees. One at Cranky Charlies and one on the way up to the High Plains passed by the Ryder family on their way up.This plaque was beside the Falls Creek Road and indicated the location of the 'Bogong Gum' tree. The tree was burnt in the 2003 bush fires but survived only to be killed in the 2006 bush fires. There were two 'Bogong Gum' trees. One at Cranky Charlies and one on the way up to the High Plains passed by the Ryder family on their way up. Heavy bronze plaque embossed with inscription. On the back is a large rectangular steel piece bent at the bottom to form a 'U' shape. One end of the 'u' is attached to the plaque and the other end has two holes for bolts enabling the plaque to be attached near the tree. One bolt is in a hole."Type tree from which was first described the species / Bogong Gum / (Eucalyptus Chapmaniana, Cameron) / The species was identified by the / late Brigadier W. D. Chapman M.C.E., / D. Eng., M.I.E. Aust., M.I.C.E. Lond. Commissioner / of the State Electricity Commission / of Victoria from May 1944 to May 1955, / in his honour it was named."plaque; state electricity commission of victoria; w.d.chapman; eucalyptus; bogong gum tree; falls creek road

This tool is one of several tools that are believed to have belonged to the Warrnambool carpenter and businessman, Henry Phillips. English-born Henry Phillips (1821-1896) came to Australia with his wife Elizabeth in 1849. They lived for some years in Port Fairy. In 1865 Henry formed a partnership with Christopher Beattie and established the Warrnambool undertaking business of Beattie and Phillips. This business continued on after the deaths of the founders and lasted until the year 2000. In Warrnambool Henry Phillips was involved in the management of the Mechanics Institute. This item is of some interest as a good example of a vintage tool and as a memento of the Warrnambool carpenter and businessman, Henry Phillips.This is a metal rod in a u-bend shape with a wooden handle in the middle of the bend and another circular wooden handle at one end of the metal rod. There is a metal piece at the other end of the rod for the insertion of a drill and a turning stud for clamping the drill in place.vintage tools, henry phillips, warrnambool, history of warrnambool

A most insightful touching small book of words.J.E.Purtill.has written from his heart and mind.It is obvious that he valued his place in 2/29 BAtt..8th Division and that he valued his fellow 8th Divisioners most greatlyGuests A deeply expressed account of signifigence offering insight into the heartbreak and trauma that manifests from any form of warfare.social and spiritual slgnificance.2 3 page handbook.....oblong portrait....yellowed white paper 23 pages......cardboard cover....declarations on front cover.For their pal ship which l cherished....to my dead cobbers......I dedicate this little book. U

This book was awarded by Geelong Grammar to Walter Armstrong in 1884. It was donated to the Ballarat College library by his grandson W Mick U Armstrong (1944). Mick attended Ballarat College 1937 - 1942. In 1936 the Weatherly Library was established at Ballarat College and a community book drive resulted in personal copies of books owned by members of the school community being donated to the library over the next 10-20 years. Mick Armstrong donated this book (amongst others) to the school library during his final year at the school. It is an excellent example of the community spirit which carried the school through periods of financial hardship. Dark royal blue leather bound book with gold crest, borders and spine detail. Spine has 6 decorative compartments with raised bands and red leather and gold lettering in the title compartment; Geelong Grammar crest embossed in gold on front cover and gold border to front and back cover; marbled endpapers and edges; black and white frontispiece and illustrations throughout book; book plates inside front cover.Book plate inside front cover: Geelong Grammar Crest / 1st PRIZE / PRESENTED BYB/ The Council / AWARDED TO / Walter Armstrong / FOR / Old & New testament / Middle 6th form / Christmas 1884 / Bracebridge Wilson / HEAD MASTER Book plate on front end page: Religion 200 / Ballarat College crest / Ballarat College / Library / PRESETNED BY / W M U ARMSTRONG 1942 / Books may be kept for One Week / only, but may be renewed / PLEASE REPORT ANY LOOSE / LEAVES, ETC. walter-armstrong, w-m-u-armstrong, geelong-grammar

Prize awarded to William Michael Urquhart Armstrong in 1944. Light blue cloth bound book with black leather sine; spine divided into 6 sections with raised bands and gold decoration; red leather behind title section; Ballarat College crest printed in gold on front cover; book plate on flyleaf.Book plate: Ballarat College crest / Sixth Form / Librarian Prize / Presented by Major Mc N Symons / Awarded to / W M U Armstrong / R E Thwaites / December 1944 / Principalw-m-u-armstrong

Prize awarded to William Michael Urquhart Armstrong in 1944.Dark maroon cloth bound cover with gold printing and border on front cover and spine; Ballarat College crest printed on front cover; book plate on flyleaf;coloured frontispiece.Book plate: Ballarat College crest / Ballarat College / Sixth form / French Prize / Awarded to / W M U Armstrong / R E Thwaites / December 1944 / Principalw-m-u-armstrong

This grappling hook is constructed from two U-shaped lengths of steel pipe, each pinched together in the centre of its arm then the ends spread apart and formed into points. The two pieces are joined with a length of heavy chain, with the end links closed to make the chain into a circle. the hook is usually attached to a rope, chain or pole of suitable length for the job undertaken. Another name for a grappling hook is a grapnel hook. Grappling hooks come in many shapes and sizes and have numerous uses. Some are carried on board vessels and used for pulling things on board or out of the sea, rescuing people from the sea, pulling other vessels closer and moving cargo. They may be used for dredging the seabed for submerged objects. A grapnel anchor can be used to moor or stabilise a vessel. The hook can be thrown out to catch on something, such as a clifftop, and then used for climbing. A form of a grappling hook, a grapnel, can be used for military purposes and is fired from a purpose-built gun or launcher. This grappling hook is an example of equipment used onboard a vessel for safety and functional purposes. Grappling hooks have been used through the centuries and their design has remained basically the same. Grappling hook with four pointed arms. The hook comprises two double-pronged grappling hooks on a chain joined to form a circle. Hooks are made from strong steel.flagstaff hill, maritime village, maritime museum, great ocean road, shipwreck coast, grappling hook, grapple, grapple anchor, marine tool, marine equipment

Thomas C Williams 1831 -89, Richmond Virginia USA. 1850 he formed a partnership with R.A. Patterson in a tobacco business which was very successful. The British-American Tobacco Company, Ltd., was established in 1902 by an agreement between the Imperial Tobacco Co. of Great Britain and its rivals, the American Tobacco Co. and its associates. The headquarters was located in London, England, and the office at 111 5th Ave. in New York City handled the purchase of leaf and manufacturing in the U. S. In 1903 the company acquired the formerly independent export businesses of the T. C. Williams Co., David Dunlop, and the Cameron family who were then the largest exporters of manufactured tobacco. T.C.Williams Co had been in existence for fifty years, and its export business in chewing tobacco amounted to nearly 5,000,000 pounds of tobacco a year.2 tins a) circular and b) rectangular with lift off lids that contained 'Welcome Nugget' flake cut tobacco made by T.C Williams Co.Top of Lid ; T.C WILLIAMS Co. / WELCOME NUGGET / FLAKE / CUT / TOBACCO. around lid WELCOME NUGGET FLAKE CUT HERMETICALLY SEALED. on base High / Grade / TOBACCO /Packed in a round airtight / tin to preserve the / original fine flavour / and to ensure / perfect condition / 2 0zs. NETT Factory weight / when packed.* tobacco, cigarettes, smoking pipes, t c williams co ltd, richmond virginia, moorabbin, cheltenham, bentleigh, the british-american tobacco company ltd., american tobacco company, cameron & cameron ltd., imperial tobacco company, patterson r a , williams thomas c snr.,

Source: Mr. Frank Smith, "Kia-Ora", Panton Hill Also a separate list of names PANTON HILL SCHOOL 1924 (SEPP_0244) Two hand written lists of names with some conflicting information L-R Back Row: Eily O’Day, R. Foubister, E. Moore, H. Purcell, F. Peake, C. Williams, H. Hewitt, J. Coutie, D. Cracknell, F. Smith, J. Smith, A. Purcell, Bob O’Day, C. Colvin, Belfield?, K. Smith, R. Gardiner, Colin Rogers Second Row: ?, Lorraine Smith, Phyllis Howard, Jean Cracknell, Edna Williams, Ces Tosch, Charlie Peake, Les Smith, Reg Hargreaves, Ken Canty, ?, Keith Smith, ?, B. Cracknell, Ron Smith, Guy Mills (Greford), Sefton Howard, Mr. Gardiner (Head Teacher) Third Row: E. Mosely, Phillis Saville, Floss Tosch, M. Milson, Essie Howard, Ethel Smith, Jessie Sinclair, Edna Woodman, Una Saville, Ida Kennedy, Dorothy Smith, Rene Keele, Margaret Powell, L. Mosely, Una Williams, Rene Purcell Fourth Row: Hazel Mills, Gladys Stone, Ruby O’Day, Stella Tosch, Joyce Smith, Peg Powell, Ailsa Gardiner, Milly Adams, Phil Groube, M. Carter, W. Stone, D. Milsom?, D. Mills, Roma Howard, Marg Howard Front Row: Donaldson?, Doug Smith?, Len Smith?, Podge Cracknell, G Carter, A. Glennon, ?,? Alternate list L-R Back Row: Eillen O’Day, R. Foubister, Eric Moore, H. Purcell, F. Peake, C. Williams, H. Hewitt, J. Coutie, Don Cracknell, F. Smith, J. Smith, H. Purcell, B. O’Day, C. Colvin, J. Belfield, K. Smith, R. Gardiner, C. Rogers Second Row: M. Millisom, L. Smith, M. Moon, J. Cracknell, U. Williams, C. Tosch, C. Peake, L. Smith, R. Hargreaves, G. Carter, H. Stone, K. Smith, B. Moon, L. Cracknell, R. Smith, G. Mills, S. Howard, Mr. Gardiner (Head Teacher) Third Row: E. Moseley, P. Saville, F. Tosch, M. Millisom, E. Howard, E. Smith, J. Sinclair, E. Woodman, U. Saville, I. Kennedy, D. Smith, R. Keele, M. Powell, L. Mosely, E. Williams, R. Purcell First Row: H. Mills, W. Stone, R. O’Day, S. Tosch, J. Smith, P. Powell, A. Gardiner, M. Adams, P. Groube, M. Carter, G. Stone, J. Millisom, D. Millisom, D. Mills, R. Howard, M. Howard Front Row: Maisch, D. Smith, A. Belfield, L. Smith, A. Howard, A. Moseley, A. Glennon, D. Millisom This photo forms part of a collection of photographs gathered by the Shire of Eltham for their centenary project book,"Pioneers and Painters: 100 years of the Shire of Eltham" by Alan Marshall (1971). The collection of over 500 images is held in partnership between Eltham District Historical Society and Yarra Plenty Regional Library (Eltham Library) and is now formally known as the 'The Shire of Eltham Pioneers Photograph Collection.' It is significant in being the first community sourced collection representing the places and people of the Shire's first one hundred years.Digital imagesepp, shire of eltham pioneers photograph collection, panton hill, panton hill state school, state school

This skylight frame would have been fitted on the Newfield’s poop deck (or raised deck that forms the roof of a cabin at the aft or rear of the ship). It would have covered and protected a glass pane that allowed light to enter the area below desk. The glass pane from the skylight is missing. The Newfield was a three-masted iron and steel barque, built in Dundee, Scotland, in 1869 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. On the night of 28 August 1892, the Captain mistook the Cape Otway light for that of Cape Wickham (King Island) and altered tack to the north and east putting the vessel on a collision course with the Victorian coast. At around 3:40 am the Newfield struck rocks about 100 yards from shore, and 5 feet of water filled the holds immediately. The captain gave orders to lower the boats which caused a disorganised scramble for safety among the crew. The starboard lifeboat was cleared for lowering with two seamen and two apprentices in her, but almost as soon as she touched the water she was smashed to bits against the side of the vessel, and only one of the four reached safety ashore, able seaman McLeod. The 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 offshore 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. For his heroic efforts, Peter Carmody was awarded the Bramley-Moore medal by the Liverpool Shipwreck and Humane Society for Saving Life at sea on January 21st 1893. The medal and a letter of congratulations were donated to Flagstaff Hill Maritime Museum by Peter Carmody's granddaughter Norma Bracken and her son Stuart Bracken on 25th May 2006. Flagstaff 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 additionally significant because of the medal awarded to a local man Peter Carmody. The Newfield collection historically also represents aspects of Victoria's shipping history and its association with the shipwreck.Skylight, frame only. The heavily encrusted brass framework has eight bolts around the long side, and four metal bars forming two ‘v’ shapes across the centre. The frame is, slightly concave towards the inner side. The shorter ends of the frame each have a ‘U’ shaped bracket attached in the centre. The shorter ends are wider on one end and taper towards the other end to about a quarter of the thickness. The frame was recovered from the wreck of the NEWFIELD.Noneflagstaff hill maritime museum, newfield ship wreck, alexander stephen & sons, brownells & co, captain george scott, great ocean road ship wreck, peter carmody, bramley-moore medal, liverpool shipwreck and humane society, skylight cover, skylight frame, ship fitting, light cover, newfield

Neville Bunning was a staffmember at the Ballarat Technical Art School.Two page hand written letter relating to setting up a Ballarat Art Society. From Neville Bunning to the Ballarat Art Gallery.604 Dana Street Ballarat 20th Aug 46 The Secretary Ballarat Art Gallery Dear Sir, I submit the attached proposition for the formation of the Ballarat Art Society. I am convinced that it is needed as an outlet of expression for teh Art School and for the development of sculpture and Painting in Ballarat. I have taken the liberty of suggesting that your committee shld form the society because I imaginbe that a society formed withou your support would be unlikely to succeed. If it failed it would mean a set-back for many years. U trust that you will be interested in the proposition Yours faithfully Neville M. Bunning. neville bunning, ballarat art society, ballarat art gallery, art gallery of ballarat, ballarat fine art gallery

This metal bracket is part of the wooden barque, the Grange, built in 1840. The bracket was recovered from the shipwreck of the Grange in around 1968, 110 years after the Grange was wrecked (see below for further details on the Grange). It is part of the John Chance Collection. THE GRANGE, 1840-1858- The wooden barque ’Grange’ was a three-masted ship built in Scotland in 1840 for international and coastal trade. On March 22, 1858, the Grange set sail from Melbourne under Captain A. Alexander, carrying a cargo of ballast. The barque had left the Heads of Phillip Bay and was heading west along the Victorian coast towards Cape Otway. The ship struck Little Haley’s Reef at Apollo Bay due to a navigational error and was stuck on the rocks. The crew left the ship carrying whatever they could onto the beach. Eventually, the remains of the hull, sails and fittings were salvaged before the wreck of the Grange broke up about a month later. About 110 years later, in 1968, the wreck of the Grange was found by divers from the Underwater Explorers Club of Victoria. They were amazed to find a unique, six to nine pound carronade (type of small cannon) and a cannonball on the site. There have been no other similar carronades recorded. In that same year the anchor of the Grange was recovered by diver John Chance and Mal Brown. The bracket is significant historically as an example of hardware used when building wooden ships in the early to mid-19th century. The bracket is historically significant as an example of the work and trade of blacksmith. The bracket also has significant as it was recovered by John Chance, a diver from the wreck of the Grange in the 1968. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The bracket is historically significant for its association with the 1840s wooden barque, the Grange. The Grange is an historical example of a Scottish built vessel used for international and coastal trader of both cargo and passengers in the mid-19th century. The Grange is an example of an early ship, designed with a wooden hull. It is significant as a ship still available to divers along the south coast of Victoria, for research and education purposes. The Grange is an example of a mid-19th century vessel that carried a weapon of defence onboard.Bracket, brass, U shaped with rectangular flat ends. Both ends have a formed rectangular hole in them; the hole has rounded corners. The metal has corroded in places and has green concretion.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, west coast trader, apollo bay, mid-19th century shipwreck, the grange, scottish barque, little henty reef, captain a alexander, underwater explorers club of victoria, 1840s carronade, vhr 5297, coastal trader, wooden shipwreck, john chance, wooden ship, ship fitting, bracket

Ivory coloured waist length silk wedding bodice with front opening. Silk fabric has alternating striped pattern of chequerboard pattern, running stitch pattern and diagonal woven pattern. The bodice is made of two layers of the silk fabric with cotton fabric lining. The front inner layer has two darts from the waistline. The back inner layer has a centre seam and three darts from the waist on either side. The outer layer on both front and back has three knife pleats falling from the shoulders creating a gathered effect. These side panels of pleated fabric create a deep V neckline by crossing over 5cm above the waist. The V shape neckline is filled with an insert of cream and dark green lace with a floral pattern. The lace insert extends to the throat to form a high round neckline. The neckline is edged with cream coloured woven cotton braid. The side edges of the outer layers are trimmed with cream lace with a floral pattern and 5cm zig zag peaked edges that extends from centre waist at the front, over the shoulders and to the crossover section at centre back where there is a decorative silk fabric flower stitched at the crossover point just above the waist. The front opening is fastened with fourteen hooks and eyes plus another hook and eye offset 5 cm above the waist at the crossover point. Set in long sleeves are in two sections. An inner layer of silk fabric widens to the elbow where two five cm frills of gathered tulle are attached. Each frill is edged with a row of silk stitching. Attached below the frills are two 7 cm strips of lace stitched together to form the lower part of the sleeve. The edge of the lace forms the hem at the wrist. Each sleeve has a 5 cm hemmed V shaped split from the hem at the wrist. The outer layer of the sleeve is bell shaped falling from the shoulder to the elbow. This section of the sleeve is edged with cream lace with a floral pattern and 5cm zig zag peaked edges that are stitched to the fabric of the sleeve. Ivory coloured full-length wedding skirt with train. The skirt is made in two layers. The under layer is made from cotton from the waist with a wide border of silk fabric - 18 cm wide at centre front, widening to 37 cm at the side seams. The back of this skirt extends to a train and the border widens to 48 cm. The border section is lined with cotton fabric. At the centre back, the border has two godet inserts to create fullness in the train. The outer layer of the skirt is of ivory silk fabric with alternating vertical stripes of a chequerboard pattern, a running stitch pattern and a diagonal woven pattern. The lower edge of the skirt is edged with an 18 cm border of lace patterned with embroidered circles. The edge of the lace forms a zig zag pattern of elongated V shaped peaks (7 cm). The front of the skirt dips to a V shape at centre front with the point of the V reaching the hemline. The back of the skirt dips below the front hemline in a U shape over the train. The waist band is made of cotton tape. The centre front of the waistband has an embroidered pattern in silk thread. The centre back opening is fastened with seven metal hooks with six cotton loops plus one metal eye on the waistband. There are two cotton tape hanging loops on either side of the inner waistband. Hand and machine stitched.costume, female ceremonial, wedding bodice

Clothing. Girl's cream coloured short sleeved linen waist length bodice/blouse. High U shaped neckline with ribbon insert lace and fold over lace collar (5cm). Yoke front and back with zig zag edge at front and V shaped at centre back. Yoke has decorative diagonal embroidered panels and pin tucks. The lower section of the blouse is shaped above the waist with darts and pleats below the bustline at the front and at centre back. Short sleeves have ribbon insert lace around arm holes with 7 cm embroidered fabric forming the sleeves.costume, children's, child's bodice/blouse

Fine white cotton girl's night dress. Yoke at front and back. Full length back opening fastened with tie at neckline. Back yoke has three vertical pintucks on each side of opening. Front yoke has vertical pattern of pintucks and embroidered fabric with horizontal section at waist. Sleeveless nightdress overlays of embroidered fabric attached to sides of yoke to form cap sleeves over shoulders. U shaped neckline has casing with cotton tape tie. Gathered skirt attached below yokes. Finished with French seams. Lower edge of night dress trimmed with embroidered fabric with scalloped edge. Note in box with garment ''The child's nightgown is about 60 years old and was made by Mrs. Antoinette Catling for her eldest daughter''. Undated. Not attached. This is the most probable garment.costume, female, white cotton girl's nightdress

Made by Fritz Prager at Camp 3Bracelet made from indented silver. Tortoise shell inserts. 9 sections joined to form the braceletbracelet, silver, tortoise shell, prager f, grimsdale u, camp 3, tatura, ww2 camp 3, costume, accessory, jewellery

1. Musical and linguistic perspectives on Aboriginal song Allan Marett and Linda Barwick Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 2. Iwaidja Jurtbirrk songs: Bringing language and music together Linda Barwick (University of Sydney), Bruce Birch and Nicholas Evans (University of Melbourne) Song brings language and music together. Great singers are at once musicians and wordsmiths, who toss rhythm, melody and word against one another in complex cross-play. In this paper we outline some initial findings that are emerging from our interdisciplinary study of the musical traditions of the Cobourg region of western Arnhem Land, a coastal area situated in the far north of the Australian continent 350 kilometres northeast of Darwin. We focus on a set of songs called Jurtbirrk, sung in Iwaidja, a highly endangered language, whose core speaker base is now located in the community of Minjilang on Croker Island. We bring to bear analytical methodologies from both musicology and linguistics to illuminate this hitherto undocumented genre of love songs. 3. Morrdjdjanjno ngan-marnbom story nakka, ?songs that turn me into a story teller?: The morrdjdjanjno of western Arnhem Land Murray Garde (University of Melbourne) Morrdjdjanjno is the name of a song genre from the Arnhem Land plateau in the Top End of the Northern Territory and this paper is a first description of this previously undocumented song tradition. Morrdjdjanjno are songs owned neither by individuals or clans, but are handed down as ?open domain? songs with some singers having knowledge of certain songs unknown to others. Many morrdjdjanjno were once performed as part of animal increase rituals and each song is associated with a particular animal species, especially macropods. Sung only by men, they can be accompanied by clap sticks alone or both clap sticks and didjeridu. First investigations reveal that the song texts are not in everyday speech but include, among other things, totemic referential terms for animals which are exclusive to morrdjdjanjno. Translations from song language into ordinary register speech can often be ?worked up? when the song texts are discussed in their cultural and performance context. The transmission of these songs is severely endangered at present as there are only two known singers remaining both of whom are elderly. 4. Sung and spoken: An analysis of two different versions of a Kun-barlang love song Isabel O?Keeffe (nee Bickerdike) (University of Melbourne) In examining a sung version and a spoken version of a Kun-barlang love song text recorded by Alice Moyle in 1962, I outline the context and overall structure of the song, then provide a detailed comparative analysis of the two versions. I draw some preliminary conclusions about the nature of Kun-barlang song language, particularly in relation to the rhythmic setting of words in song texts and the use of vocables as structural markers. 5. Simplifying musical practice in order to enhance local identity: Rhythmic modes in the Walakandha wangga (Wadeye, Northern Territory) Allan Marett (University of Sydney) Around 1982, senior performers of the Walakandha wangga, a repertory of song and dance from the northern Australian community of Wadeye (Port Keats), made a conscious decision to simplify their complex musical and dance practice in order to strengthen the articulation of a group identity in ceremonial performance. Recordings from the period 1972?82 attest to a rich diversity of rhythmic modes, each of which was associated with a different style of dance. By the mid-1980s, however, this complexity had been significantly reduced. I trace the origin of the original complexity, explore the reasons why this was subsequently reduced, and trace the resultant changes in musical practice. 6. ?Too long, that wangga?: Analysing wangga texts over time Lysbeth Ford (University of Sydney) For the past forty or so years, Daly region song-men have joined with musicologists and linguists to document their wangga songs. This work has revealed a corpus of more than one hundred wangga songs composed in five language varieties Within this corpus are a few wangga texts recorded with their prose versions. I compare sung and spoken texts in an attempt to show not only what makes wangga texts consistently different from prose texts, but also how the most recent wangga texts differ from those composed some forty years ago. 7. Flesh with country: Juxtaposition and minimal contrast in the construction and melodic treatment of jadmi song texts Sally Treloyn (University of Sydney) For some time researchers of Centralian-style songs have found that compositional and performance practices that guide the construction and musical treatment of song texts have a broader social function. Most recently, Barwick has identified an ?aesthetics of parataxis or juxtaposition? in the design of Warumungu song texts and musical organisation (as well as visual arts and dances), that mirrors social values (such as the skin system) and forms 'inductive space' in which relationships between distinct classes of being, places, and groups of persons are established. Here I set out how juxtaposition and minimal contrast in the construction and melodic treatment of jadmi-type junba texts from the north and north-central Kimberley region similarly create 'inductive space' within which living performers, ancestral beings, and the country to which they are attached, are drawn into dynamic, contiguous relationships. 8. The poetics of central Australian Aboriginal song Myfany Turpin (University of Sydney) An often cited feature of traditional songs from Central Australia (CA songs) is the obfuscation of meaning. This arises partly from the difficulties of translation and partly from the difficulties in identifying words in song. The latter is the subject of this paper, where I argue it is a by-product of adhering to the requirements of a highly structured art form. Drawing upon a set of songs from the Arandic language group, I describe the CA song as having three independent obligatory components (text, rhythm and melody) and specify how text is set to rhythm within a rhythmic and a phonological constraint. I show how syllable counting, for the purposes of text setting, reflects a feature of the Arandic sound system. The resultant rhythmic text is then set to melody while adhering to a pattern of text alliteration. 9. Budutthun ratja wiyinymirri: Formal flexibility in the Yol?u manikay tradition and the challenge of recording a complete repertoire Aaron Corn (University of Sydney) with Neparr? a Gumbula (University of Sydney) Among the Yol?u (people) of north-eastern Arnhem Land, manikay (song) series serve as records of sacred relationships between humans, country and ancestors. Their formal structures constitute the overarching order of all ceremonial actions, and their lyrics comprise sacred esoteric lexicons held nowhere else in the Yol?u languages. A consummate knowledge of manikay and its interpenetrability with ancestors, country, and parallel canons of sacred y�ku (names), bu?gul (dances) and miny'tji (designs) is an essential prerequisite to traditional leadership in Yol?u society. Drawing on our recordings of the Baripuy manikay series from 2004 and 2005, we explore the aesthetics and functions of formal flexibility in the manikay tradition. We examine the individuation of lyrical realisations among singers, and the role of rhythmic modes in articulating between luku (root) and bu?gul'mirri (ceremonial) components of repertoire. Our findings will contribute significantly to intercultural understandings of manikay theory and aesthetics, and the centrality of manikay to Yol?u intellectual traditions. 10. Australian Aboriginal song language: So many questions, so little to work with Michael Walsh Review of the questions related to the analysis of Aboriginal song language; requirements for morpheme glossing, component package, interpretations, prose and song text comparison, separation of Indigenous and ethnographic explanations, candour about collection methods, limitations and interpretative origins.maps, colour photographs, tablesyolgnu, wadeye, music and culture

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.Headstones of Rose U. King, Hannibal J. King & Annie Essington King, Boroondara General Cemetery."Other relations. These are all descendants of Australias 3rd Governor Philip Gidley King"king family, boroondara general cemetery, dorothy rogers, rose u. king, hannibal j. king, annie essington king, boroondara cemetery, kew cemetery

Morning Star Tent was formed in Clunes 27 June 1865 and was still operating in August 1902. Tent No.28 was located at the Primitive Methodist Schoolroom and the secretary was Thos. Williams.1 Oval rubber stamp with tent emblem .2 A4 sheet with typed provenance by Catherine Jenkins.1 Morning Star Tent, No. 28 V.D. 82 8 U rechabite, morning star tent, 1865

Utility Pouch was a rectangular web case that was designed to carry three Bren 30 round magazines, or two Anti-tank Rifle Magazines, or Small Arms Ammunition, or a number of Grenades, or a Water Bottle. They were secured with a flap at the top, hinged at the rear, which was fastened with a brass stud fastener on a short web tab.The object is representative of utility pouch/pouch for carrying magazine/ammunition and other items of equipment from the mid to late 20th century. The original design is the 1937 pattern web equipment.Utility Pouch of rectangular web case. Of rectangular parallelepipped shape made of thick and sturdy fabric (canvas). The colour is of a pale shade of green. Front view - Rectangular shape with overlapping closing flap with a press-stud fastener to maintain closed. Left and right views - Both sides are identical. Made of a one piece of fabric forming the base as well ("U" shape) Back view - Rectangular with metal hooks on the middle part for attachment to a belt. There is a Twigg buckle on the top part of the pouch mounted on another piece of canvass ending in a triangular shape. . Bottom view - ‘the fabric forming the base is also forming the sides of the pouch. Top view - closing flap overlapping on 3 sides and forming part of the back of the pouch. Inside view - There is excess fabric from the back panel that forms an additional layer at the base of the pouch.. Handwritten on the back: 3/750133. DELVE S.J.E. On the inside of the closing flap: presence of very faded markings (unreadable)