The markers hallmarks on this match case have become illegible, however the remaining hallmarks show that the case was made in Birmingham, England in 1901. Match cases are a decorative case that houses a cardboard matchbox.The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.A silver rectangular match case with an embossed top.[?]/ [?]/ anchor symbol/ lion symbol/ b/ [hallmarks] A01168/matchbox

This detailed example of a match holding Vesta was owned by someone with the initials GBW but is otherwise difficult to identify ownership. Vestas are the historical name for what are now known as matches. They were named for the Roman goddess Vesta whose domain was the hearth and home. The Swan company began production of short matches, mostly useful for lighting pipes and cigarettes due to their deliberately short length. Due to their small size it became convenient to carry these Vestas within a Vesta Case kept somewhere on the person, large enough to contain enough matches for a days use. The cases prevented their contents from becoming damaged and damp while also stopping them from accidentally striking if held loose in a pocket. This example of a Vesta case is particularly ornate.The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.A decorative silver coloured vesta or match book. It has detailed engraving across the obverse and reverse sides with delicate scrollwork and a monogram set in a circular setting in the centre. The vesta has a hinged top and side loop to allow for attachment.GBW/ A01171/burke museum, vesta case, vesta, matches, silver, social history, luxury

Vestas are the historical name for what are now known as matches. They were named for the Roman goddess Vesta whose domain was the hearth and home. The Swan company began production of short matches, mostly useful for lighting pipes and cigarettes due to their deliberately short length. Due to their small size it became convenient to carry these Vestas within a Vesta Case kept somewhere on the person, large enough to contain enough matches for a days use. The cases prevented their contents from becoming damaged and damp while also stopping them from accidentally striking if held loose in a pocket. This is a simple example of a Vesta Case.The social history objects held in the Burke Museum's collection help to tell the stories of Beechworth's past by showing the social, cultural, and economic aspects of the town's history.A decorative silver coloured vesta or match book. It has a raised crosshatch pattern in a circular pattern on the obverse side. The vesta has a hinged top and side loop to allow for attachment.A01199/burke museum, vesta case, vesta, matches, silver, social history

This clock was made by Charles Frederick Falck who was a watchmaker and jeweller in Beechworth from 1863-1908. Falck was born in Körlin, Prussia on May 22nd in 1833 and died at the age of 75 in 1908. Ovens and Murray Advertiser, Beechworth: edition June 13, 1908 OBITUARY: Falck was brought up to the business of watch-making, in which he developed exceptional mechanical ingenuity. Attracted by the favourable prospects held out by the Australian discoveries of gold he, like many other young adventurous spirits, left his native land to seek his fortune in the great southern Eldorado, arriving in Adelaide in 1854, and shortly after came to Melbourne where he worked as a journeyman, and subsequently started in business on his own account. Feeling inclined to test his fortune on the goldfields, he went to Blackwood but, meeting with little success, he returned to Melbourne where he was married. In 1862, he moved to Beechworth, where he commenced business as watchmaker and gold-buyer. He then embarked in vine-growing on the Sydney road, but eventually resumed his business avocations. His skill in practical horology was evinced in a clock of his own design and manufacture, surmounted by a golden eagle, which was exhibited at the first Melbourne Exhibition in 1856, and which afterwards formed a pre-eminent attraction in the window of his business premises in Ford Street. For many years, he filled the position of timekeeper to the Beechworth Racing Club, with complete satisfaction also at various sports meetings. He leaves a family of six sons and one daughter (Mrs. Jas. Broadfoot) all arrived at maturity. The funeral, which was well attended by a number of residents, took place at the Beechworth Cemetery on Sunday, the burial service being performed by the Ven. Archdeacon Potter. The cortege was capably supervised by Mr. D. Wilson, undertaker. The clock was returned to Beechworth in 2020 through the generous support of the Copland Foundation. Given that Mr. C. F. Falck traded as a watchmaker and jeweller in Beechworth for 45 years and traded with the 1855 clock mounted in his front window, there is a direct link between the clocks and the social, cultural and economic life of nineteenth century Beechworth at time when the town was developing and expanding in response to gold mining. This clock represent the significant skill and expertise of Charles Falck as an horologist. Medium-sized pendulum clock featuring a carved gilt wood eagle with wings outstretch (épandre - expanded with wing-tips directed upwards) and perched above a pendulum rod that holds a silver dial clock face within a reeded sunburst surround. The clock has an eight-day fuse movement with dead beat escapement wound from the clock face. C. F. F. FALCK / EXHIBITION 1856 / MELBOURNEburke museum, copland foundation, beechworth, leonard joel, auction, purchase, clock, pendulum, eagle, eagle clock, charles frederick falck, c. f. falck, falck, horology, pendulum clock, melbourne

This clock was made by Charles Frederick Falck who was a watchmaker and jeweller in Beechworth from 1863-1908. Falck was born in Körlin, Prussia on May 22nd in 1833 and died at the age of 75 in 1908. Ovens and Murray Advertiser, Beechworth: edition June 13, 1908 OBITUARY: Falck was brought up to the business of watch-making, in which he developed exceptional mechanical ingenuity. Attracted by the favourable prospects held out by the Australian discoveries of gold he, like many other young adventurous spirits, left his native land to seek his fortune in the great southern Eldorado, arriving in Adelaide in 1854, and shortly after came to Melbourne where he worked as a journeyman, and subsequently started in business on his own account. Feeling inclined to test his fortune on the goldfields, he went to Blackwood but, meeting with little success, he returned to Melbourne where he was married. In 1862, he moved to Beechworth, where he commenced business as watchmaker and gold-buyer. He then embarked in vine-growing on the Sydney road, but eventually resumed his business avocations. His skill in practical horology was evinced in a clock of his own design and manufacture, surmounted by a golden eagle, which was exhibited at the first Melbourne Exhibition in 1856, and which afterwards formed a pre-eminent attraction in the window of his business premises in Ford Street. For many years, he filled the position of timekeeper to the Beechworth Racing Club, with complete satisfaction also at various sports meetings. He leaves a family of six sons and one daughter (Mrs. Jas. Broadfoot) all arrived at maturity. The funeral, which was well attended by a number of residents, took place at the Beechworth Cemetery on Sunday, the burial service being performed by the Ven. Archdeacon Potter. The cortege was capably supervised by Mr. D. Wilson, undertaker. The clock was returned to Beechworth in 2020 through the generous support of the Copland Foundation and the Friends of the Burke. Given that Mr. C. F. Falck traded as a watchmaker and jeweller in Beechworth for 45 years and traded with the 1855 clock mounted in his front window, there is a direct link between the clocks and the social, cultural and economic life of nineteenth century Beechworth at time when the town was developing and expanding in response to gold mining. This clock represent the significant skill and expertise of Charles Falck as an horologist. Large swinging clock featuring a carved gilt wood eagle with its wings outstretched (abaisé - expanded with wing-tips lowered) and perched above a pendulum rod that holds a silvered dial clock face within a reeded sunburst surround. (Similar to #2019.056.01) The clock has an eight-day fuse movement with dead beat escapement wound from the clock face. C. F. FALCK / WATCHMAKERburke museum, copland foundation, beechworth, leonard joel, auction, purchase, clock, pendulum, eagle, eagle clock, charles frederick falck, c. f. falck, falck, horology, pendulum clock, melbourne

These Message Sticks acknowledge the return of Dja Dja Wurrung Cultural material held by the Burke Museum. The Burke Museum is the current custodian of a significant collection of First Peoples’ cultural material from across South-Eastern Australia. These objects were sold to the Museum by Reynold Everly Johns in 1868. We recognise the harm caused by dispossession of cultural material, and by any inappropriate display and interpretation of this collection over the past 150 years. The Burke Museum is continuing to build relationships and collaborate with traditional owners, Aboriginal communities and the museum sector to ensure culturally appropriate outcomes for the collection, including repatriation of objects to communities of origin. Message sticks are a form of communication between Aboriginal nations, clans and language groups even within clans. Traditional message sticks were made and crafted from wood and were generally small and easy to carry (between 10 and 20 cm). They were carved, incised and painted with symbols and decorative designs conveying messages and information. Some were prepared hastily, like you might create a note left on a friend’s desk or a quick text message; others were prepared with more time to make the markings neat and ornate. There were always marks that were distinctive to the particular group or nation sending the message and often marks identifying the relationship of the carrier to their group. This way it could be identified and authenticated by neighboring groups and by translators when the message stick was taken long distances. Two solid cylindrical shaped pieces of wood bound together with black, red and yellow string. Each stick has etchings with angular lines and dots. dja dja wurrung, message sticks, burke museum, beechworth, beechworth museum, repatriation, reynold everly johns

This well-produced but water-damaged book of Longfellows Poetry, was part of the former Warrnambool Mechanics Institute Library and Museum collection. The custody of this collection was assumed by Flagstaff Hill Maritime Village in the 1970s. Supporting provenance indicates the book was retrieved from the sea at Loch Ard Gorge soon after the shipwreck of the same name in June 1878. This book was given to the Warrnambool Museum curator Joseph Archibald by its finder, the Warrnambool Standard editor Henry Davis in October 1883. A letter from Mr Davis describing the poignant circumstances of his discovery is also in the Flagstaff Hill collection. A transcript of this letter is displayed next to the book in the Great Circle Gallery at the Maritime Village (reg. no. 2292). The story behind this book prompted Mr Archibald to write to the sole surviving female passenger from the LOCH ARD, Eva Carmichael, asking if the book was hers. Miss Carmichael replied by handwritten letter in January 1884, advising that the volume of poems did not belong to her: “We had a ‘Longfellow’, but our book had a green cover”. This letter is also in the Flagstaff Hill collection (reg. no. 2290.4).The book is rare as it has survived a shipwreck in relatively good condition. It is an example of personal possessions carried by a shipboard passenger in the 1870s. It holds significance for its connection to the renowned poet, Henry Wardsworth Longfellow. The book is important for its probable association with the wreck of the vessel Loch Ard in 1878. The LOCH ARD shipwreck is of State significance and is listed on the Victorian Heritage Register S417. A volume of poetry by Henry Wadsworth Longfellow. It is bound in blue-purple cloth on thick board, with black lettering and curling-vine design, framed by gold border. In the centre of the front cover is a raised smooth-white ellipse with crimped edges, now worn bare but with traces of an original brightly coloured floral design. This white centre of supple leather is also framed by a decorative gold border. The upper case lettering on the front cover reads ‘Longfellow’s Poetical Works’. The edges of the blue material are faded and worn. The pages are corrugated by water damage but their original gold-edged condition is still evident. The front and back covers are scored with singed holes approximately 1.5cm diameter, situated about the centre edge of each side and in roughly corresponding positions. These holes may be from an original book-latch or fastening. However they have since been damaged by a hot piercing object, which has blackened the holes and extended the damage into the enclosed pages. The spine of the book features a stylised oak tree in gold, rising from bared roots to serrated leaves and acorns. The letters “LON[DON]” at the top of the spine and “W.P.NI[MM]O” at the bottom. The book cover has separated from the majority of stitched pages, along with a number of title pages, which are now loosed from the binding. The books condition is fragile from a handling perspective, but stable in terms of further deterioration. ‘Inscribed “Loch Ard June 1 1878” in pencil within ― believed to be a salvage from the shipwreck’ (Mechanics Institute Library auditor, June 1996).warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, longfellow’s poems, loch ard, eva carmichael, warrnambool mechanics institute library, warrnambool museum, joseph archibald, henry davis, william p. nimmo, poetry, heny longfellow, henry wadsworth longfellow, poetical works, 1870s, 1877, longfellow’s poetical works

Wooden rectangular base painted black with two display pieces. One a black oval frame with a three dimensional bird scene with tree's and other foliage. The other a red piece of rectangular paper with gold Korean or Japanese writing surrounded by a gold bird and dragon design. The paper is held between two sheets of plastic which is held up by a small wooden mount that has a thermometer, reading in both Celsius and Fahrenheit. There is also a small label with "ASTRONOMY" written on it and with Korean or Japanese pictograms writing underneath. There is also two mystery screw bolts just above the label. small label with "ASTRONOMY" written on it and with Korean? writing underneathkorean, bird scene, thermometer, gift, seamen, sailors, seafarers, lacker, peacock

A brightly-coloured, dancing, Korean doll made up of natural and synthetic fabric attached to a metal and laminex base by a steel pin.korean doll, ornament, doll, gift, korean, seamen, sailors, seafarers

Often given at Chinese New Year, it was gifted to the Mission in 2012 by Ren Ban of the ship ‘Theresa’ from Micronesia. The red Chinese knot is a particular kind of knot unique to China, usually a gift as a symbol of good fortune for a home, a business or an organisation and the one strand ties people together. The object was presented to acknowledge the work done by the Mission for the seafarers of the world. Red and gold Chinese good fortune symbol made of synthetic, silk-like material with woven diamond hanging section and a long double hanging tassel with gold trim .symbol, ms theresa, seafarer gifts, chinese knot, chinese tassel, pan chang knot, red, handicraft

Group of Polychrome matte glazed stoneware nativity figures - Group of 8 (Incomplete)nativity, mary, joseph, shepherds, kings, animals, jesus, angel, sheep, christmas

A group of 18 pieces, polychrome moulded plastic figures; On the side of each figure copyright symbol and maker's mark, indecipherable ... plasticsmary, joseph, shepherds, kings, animals, nativty, christmas, jesus, camel, donkey, cow, sheep, balthazar, melchior, gaspard

Appearances to the contrary, the item is not a weathervane but a finial. It was the gift of Mr John Sanderson (Jottings Easter 1920), from John Sanderson & Co., wool merchants, stock and station agents, commission and shipping agents before he leaves for England to become senior partner in Sanderson Murray & Elder, London, import and export agents. It was designed by Walter & Richard Butler Architects. (sketch published in Building : the magazine for the architect, builder, property owner and merchant vol.33, no 193, 12 Sept. 1923). The finial was already drawn on the sketch of the Central Institute made by Walter Butler. The maker of the finial, was Henry Alfred George Arnold Saw (born June 1881 in Hotham, Victoria was the son of Edward Saw (1854-1926) a tinsmith and Catherine Barton (1863-1907). He worked as a metal artificer for a metal-working business located opposite the Trades Hall in Lygon Street and was given the job of making the copper ship finial. Henry married Florence Charlotte Reeder and they had four children. Also known as Harry Saw according to his grandson Brian, he died on 9th February 1960. Henry and Florence both died within two months of each other in 1960. It is not clear when the ship was actually installed on the roof, the earliest photograph dating from 1927. The windvane fell or moved several times because of gale forces: - In 1995 : After the funds were raised to repair it, it was treated by sculptor David Hope, and reinstalled in the 1998 (Ship to Shore #3 Sept 1998). - In 2017: Carmela Lonetti from the Grimwade Centre for Cultural Materials Conservation (Ship to Shore Autumn 2017) - In 2019: a generous passerby donated the necessary funds for the conservation. It was sent to Grimwade Centre for Cultural Materials Conservation (Ship to Shore 2019), treated by Evan Tindal (City of Melbourne Magainze Oct. 2020). It was reinstalled over the Summer of 2019-2020 (Ship to Shore Summer 2020). The weathervane was stolen during the night of the 6-7 March 2022. Copper price surge sparks rise in theft in Victoria in 2021-22 so it's likely the vane was stolen to be melted This sculpture is closely associated with the 1917 building and described in clippings and annual reports when the building was first newly opened. It can be seen in some of the earliest photographs of the new building and in the artist/architect Butler's impressions. The galleon is often a decorative design of Mission to Seafarers wind vane (London, Adelaide).Bronze and copper sculpture fashioned as a Wind Vane in the form of a Galleon style sailing ship with 2 pennants flying and two sails rigged atop with lower cross piece with wind directions N S E W . There is a decorative ornamental pierced scrollwork ferrule / finial with reinforcing chrome steel piping armature at base of main support which attaches to the roof or a base support. See also comments below weather vane, wind vane, sculpture, galleon, sailing ship, finial, henry alfred saw, david hope, windvane, weathervane, walter richmond butler (1864–1949), richard butler, john sanderson

This tea spoon is from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. This teaspoon is one of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The following descriptions of maker’s marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. 1. A recessed Crown containing a raised Diamond outline and the initials “W” and “P” (the recognised trademark of William Page & Co) 2. An impressed Ellipse containing a raised, pivoted, Triangle in its lower part and bearing a Resurrection Cross on its upper section (a possible dissenting church symbol reflecting religious affiliation); OR a rounded Square impression containing a raised, ‘lazy’, letter “B” (possibly mimicking sterling silver hallmark signifying city of manufacture i.e. Birmingham) 3. An impressed rounded Square filled with a raised Maltese Cross (the base metal composite of nickel silver was also known as ‘German silver’ after its Berlin inventors in 1823) 4. A recessed Circle containing a Crab or Scarab Beetle image; OR a recessed Circle containing a rotated ‘fleur de lys’ or ‘fasces’ design 5. A depressed Diamond shape enclosing a large raised letter “R” and a small raised letter “D” (mimicking the U.K. Patent Office stamp which abbreviated the term ‘registered’ to “RD”, but also included date and class of patent) Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only seven in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Unrestored tea spoon from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and elongated bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 30% of original electroplating remains, with some verdigris.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, nickel silver, william page & co, birmingham, brass plating, makers marks

The subject item at this time cannot be associated with an historical event, person or place, provenance is unknown, item assessed as originally produced as a decorative item fro the home and is believed to have been produced in the early 20th century.A mass produced utilitarian item made for domestic use, there is no history or manufacturing provenance currently available.Badly corroded metal ornament, 3 masted, medieval sailing ship front sail has cross on it, centre sail has shield with a cross and 4 x below. Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ornament, metal ornament, sailing ship ornament, home decoration

The unusual beautiful green American slate roofing tile used in this wall hanging was recovered from the shipwrecked Falls of Halladale. The iron-hulled, four-masted barque, the Falls of Halladale, was a bulk carrier of general cargo. She left New York in August 1908 on her way to Melbourne and Sydney. In her hold, along with 56,763 tiles of unusual beautiful green American slates (roofing tiles), 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6500 gallons of oil, 14400 gallons of benzene, and many other manufactured items, were 117 cases of crockery and glassware. Three months later and close to her destination, a navigational error caused the Falls of Halladale to be wrecked on a reef off the Peterborough headland at 3 am on the morning of the 15th of November, 1908. The captain and 29 crew members all survived, but her valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. ABOUT THE ‘FALLS OF HALLADALE’ (1886 - 1908) Built: in1886 by Russell & Co., Greenock shipyards, River Clyde, Scotland, UK. The company was founded in 1870 (or 1873) as a partnership between Joseph Russell (1834-1917), Anderson Rodger and William Todd Lithgow. During the period 1882-92 Russell & Co., they standardised designs, which sped up their building process so much that they were able to build 271 ships over that time. In 1886 they introduced a 3000 ton class of sailing vessel with auxiliary engines and brace halyard winches. In 1890 they broke the world output record. Owner: Falls Line, Wright, Breakenridge & Co, 111 Union Street, Glasgow, Scotland. Configuration: Four masted sailing ship; iron-hulled barque; iron masts, wire rigging, fore & aft lifting bridges. Size: Length 83.87m x Breadth 12.6m x Depth 7.23m, Gross tonnage 2085 ton Wrecked: the night of 14th November 1908, Curdies Inlet, Peterborough south west Victoria Crew: 29 The Falls of Halladale was a four-masted sailing ship built-in 1886 in Glasgow, Scotland, for the long-distance cargo trade and was mostly used for Pacific grain trade. She was owned by Wright, Breakenridge & Co of Glasgow and was one of several Falls Line ships, all of which were named after waterfalls in Scotland. The lines flag was of red, blue and white vertical stripes. The Falls of Halladale had a sturdy construction built to carry maximum cargo and able to maintain full sail in heavy gales, one of the last of the ‘windjammers’ that sailed the Trade Route. She and her sister ship, the Falls of Garry, were the first ships in the world to include fore and aft lifting bridges. Previous to this, heavily loaded vessels could have heavy seas break along the full length of the deck, causing serious injury or even death to those on deck. The new, raised catwalk-type decking allowed the crew to move above the deck stormy conditions. This idea is still used today on the most modern tankers and cargo vessels and has proved to be an important step forward in the safety of men at sea. On 4th August 1908, with new sails, 29 crew, and 2800 tons of cargo, the Falls of Halladale left New York, bound for Melbourne and Sydney via the Cape of Good Hope. The cargo on board was valued at £35,000 and included 56,763 tiles of American slate roofing tiles (roof slates), 5,673 coils of barbed wire, 600 stoves, 500 sewing machines, 6,500 gallons of oil, 14,400 gallons of benzene, plumbing iron, 117 cases of crockery and glassware and many other manufactured items. The Falls of Halladale had been at sail for 102 days when, at 3 am on the night of 14th November 1908, under full sail in calm seas with a six knots breeze behind and misleading fog along the coast, the great vessel rose upon an ocean swell and settled on top of a submerged reef near Peterborough on south-west Victoria’s coast. The ship was jammed on the rocks and began filling with water. The crew launched the two lifeboats and all 29 crew landed safely on the beach over 4 miles away at the Bay of Islands. The postmistress at Peterborough, who kept a watch for vessels in distress, saw the stranding and sent out an alert to the local people. A rescue party went to the aid of the sailors and the Port Campbell rocket crew was dispatched, but the crew had all managed to reach shore safely by the time help arrived. The ship stayed in full sail on the rocky shelf for nearly two months, attracting hundreds of sightseers who watched her slowly disintegrate until the pounding seas and dynamiting by salvagers finally broke her back, and her remains disappeared back into deeper water. The valuable cargo was largely lost, despite two salvage attempts in 1908-09 and 1910. Further salvage operations were made from 1974-1986, during which time 22,000 slate tiles were recovered with the help of 14 oil drums to float them, plus personal artefacts, ship fittings, reams of paper and other items. The Court of Marine Inquiry in Melbourne ruled that the foundering of the ship was entirely due to Captain David Wood Thomson’s navigational error, not too technical failure of the Clyde-built ship. The shipwreck is a popular site for divers, about 300m offshore and in 3 – 15m of water. Some of the original cargo can be seen at the site, including pieces of roof slate and coils of barbed wire.The Falls of Halladale shipwreck is listed on the Victorian Heritage Register (No. S255). She was one of the last ships to sail the Trade Routes. She is one of the first vessels to have fore and aft lifting bridges. The Falls of Halladale is an example of the remains of an International Cargo Ship and also represents aspects of Victoria’s shipping industry. The wreck is protected as a Historic Shipwreck under the Commonwealth Historic Shipwrecks Act (1976).Wall hanging, framed slate salvaged from the wreck of Falls of Halladale. Slate is visible from both sides of TIMBER frame through glass. Coloured drawing of Falls of Halladale is inserted under glass. Typed inscription " "FALLS OF HALLADALE" "Grounded, Nov 14th, at Wreck Point, Midway between Peterborough & Bay of Islands" Typed inscription " "FALLS OF HALLADALE" "Grounded, Nov 14th, at Wreck Point, Midway between Peterborough & Bay of Islands" falls of halladale, cargo, flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, slate, slate tile, green american slates, building material, wreck point, peterborough, bay of islands, russell & co.

Sewing Machine, Medium C S. (item has 10 parts), treadle operated, in wooden cabinet. Machine body is black with floral decals in gold, cream and red. Cabinet has wheels, 4 drawers containing cylinder shuttle, 2x bobbins, handle from a drawer and a bundle of horse hair. Drive belt is missing, cabinet has evidence of borer. Ironwork on right upright has 2 splits, name on plate of treadle is worn off. Decals include English Made and Approved to Her Majesty Queen Victoria. Machine has Serial Number.Pencilled inside machine support " 11/11/10 H M X" Serial Number "66389" Decals include "MEDIUM C.S / APPOINTED TO HER MAJESTY / QUEEN VICTORIA", "ENGLISH MADE".flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sewing machine, cylinder shuttle sewing machine, dressmaker's equipment, taylor, jones sewing machine, medium c.s. machine, medium cylinder shuttle machine

Post Office Receiving Pillar was Collected from Warrnambool City Council’s Scott Street Depot and transported to Flagstaff Hill, stored in the Barracks area Friends of Flagstaff Hill began the project of restoring the Post Office Receiving Pillar in early 2011. The replacement dome required a pattern to be made from paper, then timber, then someone to manufacture it. The cast iron body required sand blasting and undercoating. The pillar was installed in Flagstaff Hill Maritime Village in March 2014. A specialist visited the Village and painted the pillar with 7 coats of ‘post office red’ then completed the job with gold paint on the details. In 2015 an information plate of brass was fitted to the Pillar in the position that would have originally announced the clearing times. It was originally manufactured by G Couch, Engineer, Alliance Iron Works, Melbourne. Gordon Couch passed away in June 1896 and his Works were offered for auction in November 1897. HISTORY OF POST OFFICE RECEIVING PILLARS In 1851 ‘pillar boxes’ were installed at roadside locations in the island of Jersey, England; they had already been successful in several European countries. The use of new prepaid, adhesive postage stamps as well as the roadside pillar boxes meant there was no need for the public to take a trip to the Post Office just to post a letter. By 1855 London had installed its first six Pillar Boxes. In 1856 the pillar boxes were first introduced in Sydney. These were circular with a crown on the dome, supported by leaves. Early Victoria Mail was originally collected by ‘letter carriers’, first appointed in Melbourne in 1841, equipped with leather bag and hand bell. He wore a red coat with brass buttons and a black top hat! In 1844 two wooden receiving boxes were erected in Melbourne. The first cast iron boxes were installed in South Melbourne (Emerald Hill) and were still in service until 1967. They were a fluted circular design and made in England. In the early 1860’s the ‘low door round’ design posting box was introduced, being circular and surrounded by a crown, with two broad embossed bands around its circumference. The clearance door was in front of the box and low down. These were made in Australia. In the early 1870’s square boxes with a tapering top were being used. These too were made in Australia by different manufacturers with slight variations on style such as the orientation and number of slots. Next came the circular boxes again, similar to the ‘low door round’ but with the clearance door extending to just below the posting slot, often referred to as ‘high door round’. These boxes did not have embossed bands. In 1887 small cast iron boxes were introduced, attached to posts and poles and called ‘lamp post receivers’. Around 1930 a ‘London’ model was used in Victoria. It was copied from the flat-domed type in London but made in Tasmania. … [References: Flagstaff Hill Maritime Village records, The Argus, 11th April, 1890, The Argus, 2nd July, 1896, The Argus, 30th Nov. 1897, “Stamps.Au” http://www.stampsau.com, 4th April 2011 (Extracted from “Australian Street Posting Boxes” by Ken Sparks – out of print)] Post Office Receiving Pillar, or letterbox.1885 "High Door Round" design, restored 2014 Tall cast iron sylinder with decorative dome cap, slot in side, hinged door with handle shaped as a fist. Painted red with gold trip..Reconditioned barrel, reconstructed dome. Restored by Friends of Flagstaff Hill, 2014. Now a working letterbox. Made in Melbourne.Oval maker's plate “ - G. COUCH - / ENGINEER / ALLIANCE IRON / WORKS / MELBOURNE”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, post office receiving pillar, letterbox, mailbox, australia post

This wooden sword is said to “possibly be the only remaining part of the figurehead from the sailing ship Eric the Red.” It was previously part of the collection of the old Warrnambool Museum and the entry in its inventory says “Wooden sword, portion of the figurehead, held by “Eric the Red” at the bow.” A large part of the ship’s hull was found on the rocks and a figurehead may have been attached or washed up on the shore. The shipping records for E. & A. Sewall, the builders, owners and managers of Eric the Red, are now preserved in the Maine Maritime Museum. There is no photograph on record of Eric the Red but photographs of other ships built around that time by the same company show that these did not have figureheads, and there is no record found of a figurehead for Eric the Red being ordered or paid for. Further research is being carried out. The ship building company E. & A. Sewall, from Bath, Maine, USA, built Eric the Red, a wooden, three masted clipper ship. She had 1,580 tons register and was the largest full-rigged ship built at Bath, Maine, USA in 1871. She was built and registered by Arthur Sewall, later to become the partnership E. & A. Sewall, and was the 51st ship built by this company. The annually-published List of Merchant Vessels of the U.S. shows that Bath was still the home port of Eric the Red in 1880. The vessel was named after the Viking discoverer, Eric the Red, who was the first European to reach the shores of North America (in 980AD). The ship Eric the Red at first traded in coal between America and Britain, and later traded in guano nitrates from South America. In 1879 she was re-metalled and was in first class condition. On 10th June 1880 (some records say 12th June) Eric the Red departed New York for Melbourne and then Sydney. She had been commissioned by American trade representatives to carry a special cargo of 500 exhibits (1400 tons) - about a quarter to a third of America’s total exhibits - from America for the U.S.A. pavilion at Melbourne’s first International Exhibition. The exhibits included furniture, ironmongery, wines, chemicals, dental and surgical instruments, paper, cages, bronze lamp trimmings, axles, stamped ware, astronomical and time globes, samples of corn and the choicest of leaf tobacco. Other general cargo included merchandise such as cases of kerosene and turpentine, brooms, Bristol's Sarsaparilla, Wheeler and Wilson sewing machines, Wheeler’s thresher machine, axe handles and tools, cases of silver plate, toys, pianos and organs, carriages and Yankee notions. The Eric the Red left New York under the command of Captain Z. Allen (or some records say Captain Jacques Allen) and 24 other crew including the owner’s son third mate Ned Sewall. There were 2 saloon passengers also. On 4th September 1880 the ship had been sailing for an uneventful 85 days and the voyage was almost at its end. Eric the Red approached Cape Otway in a moderate north-west wind and hazy and overcast atmosphere. Around 1:30am Captain Allen sighted the Cape Otway light and was keeping the ship 5-6 miles offshore to stay clear of the hazardous Otway Reef. However he had badly misjudged his position. The ship hit the Otway Reef about 2 miles out to sea, south west of the Cape Otway light station. Captain Allen ordered the wheel to be put ‘hard up’ thinking that she might float off the reef. A heavy sea knocked the man away from the wheel, broke the wheel ropes and carried away the rudder. The sea swamped the lifeboats, the mizzenmast fell, with all of its rigging, then the mainmast fell and the ship broke in two. Some said that the passenger Vaughan, who was travelling for his health and not very strong, was washed overboard and never seen again. The ship started breaking up. The forward house came adrift with three of the crew on it as well as a longboat, which the men succeeded in launching and keeping afloat by continually bailing with their sea boots. The captain, the third mate (the owner’s son) and others clung to the mizzenmast in the sea. Then the owner’s son was washed away off the mast. Within 10 minutes the rest of the ship was in pieces, completely wrecked, with cargo and wreckage floating in the sea. The captain encouraged the second mate to swim with him to the deckhouse where there were other crew but the second mate wouldn’t go with him. Eventually the Captain made it to the deckhouse and the men pulled him up. At about 4:30am the group of men on the deckhouse saw the lights of a steamer and called for help. At the same time they noticed the second mate and the other man had drifted nearby, still on the spur, and pulled them both onto the wreck. The coastal steamer Dawn was returning to Warrnambool from Melbourne, its sailing time different to its usual schedule. Cries were heard coming from out of the darkness. Captain Jones sent out two life boats, and fired off rockets and blue lights to illuminate the area. They picked up the three survivors who were in the long boat from Eric the Red. Two men were picked up out of the water, one being the owner’s son who was clinging to floating kerosene boxes. At daylight the Dawn then rescued the 18 men from the floating portion of the deckhouse, which had drifted about 4 miles from where they’d struck the reef. Shortly after the rescue the deckhouse drifted onto breakers and was thrown onto rocks at Point Franklin, about 2 miles east of Cape Otway. Captain Jones had signalled to Cape Otway lighthouse the number of the Eric the Red and later signalled that there was a wreck at Otway Reef but there was no response from the lighthouse. The captain and crew of the Dawn spent several more hours searching unsuccessfully for more survivors, even going back as far as Apollo Bay. On board the Dawn the exhausted men received care and attention to their needs and wants, including much needed clothing. Captain Allen was amongst the 23 battered and injured men who were rescued and later taken to Warrnambool for care. Warrnambool’s mayor and town clerk offered them all hospitality, the three badly injured men going to the hospital and others to the Olive Branch Hotel, then on to Melbourne. Captain Allen’s leg injury prevented him from going ashore so he and three other men travelled on the Dawn to Portland. They were met by the mayor who also treated them all with great kindness. Captain Allen took the train back to Melbourne then returned to America. Those saved were Captain Z. Allen (or Jacques Allen), J. Darcy chief mate, James F. Lawrence second mate, Ned Sewall third mate and owner’s son, John French the cook, C. Nelson sail maker, Clarence W. New passenger, and the able seamen Dickenson, J. Black, Denis White, C. Herbert, C. Thompson, A. Brooks, D. Wilson, J. Ellis, Q. Thompson, C. Newman, W. Paul, J. Davis, M. Horenleng, J. Ogduff, T. W. Drew, R. Richardson. Four men had lost their lives; three of them were crew (Gus Dahlgreen ship’s carpenter, H. Ackman steward, who drowned in his cabin, and George Silver seaman) and one a passenger (J. B. Vaughan). The body of one of them had been found washed up at Cape Otway and was later buried in the lighthouse cemetery; another body was seen on an inaccessible ledge. Twelve months later the second mate James F. Lawrence, from Nova Scotia, passed away in the Warrnambool district; an obituary was displayed in the local paper. The captain and crew of the Dawn were recognised by the United States Government in July 1881 for their humane efforts and bravery, being thanked and presented with substantial monetary rewards, medals and gifts. Neither the ship, nor its cargo, was insured. The ship was worth about £15,000 and the cargo was reportedly worth £40,000; only about £2,000 worth had been recovered. Cargo and wreckage washed up at Apollo Bay, Peterborough, Port Campbell, Western Port and according to some reports, even as far away as the beaches of New Zealand. The day after the wreck the government steam ship Pharos was sent from Queenscliff to clear the shipping lanes of debris that could be a danger to ships. The large midship deckhouse of the ship was found floating in a calm sea near Henty Reef. Items such as an American chair, a ladder and a nest of boxes were all on top of the deckhouse. As it was so large and could cause danger to passing ships, Captain Payne had the deckhouse towed towards the shore just beyond Apollo Bay. Between Apollo Bay and Blanket Bay the captain and crew of Pharos collected Wheeler and Wilson sewing machines, nests of boxes, bottles of Bristol’s sarsaparilla, pieces of common American chairs, axe handles, a Wheelers’ Patent thresher and a sailor’s trunk with the words “A. James” on the front. A ship’s flag-board bearing the words “Eric the Red” was found on the deckhouse; finally those on board the Pharos had the name of the wrecked vessel. During this operation Pharos came across the government steamer Victoria and also a steamer S.S. Otway, both of which were picking up flotsam and wreckage. A whole side of the hull and three large pieces of the other side of the hull, with some of the copper sheathing stripped off, had floated on to Point Franklin. Some of the vessels yards and portions of her masts were on shore. The pieces of canvas attached to the yards and masts confirmed that the vessel had been under sail. The beach there was piled with debris several feet high. There were many cases of Diamond Oil kerosene, labelled R. W. Cameron and Company, New York. There were also many large planks of red pine, portions of a small white boat and a large, well-used oar. Other items found ashore included sewing machines (some consigned to ‘Long and Co.”) and notions, axe and scythe handles, hay forks, wooden pegs, rolls of wire (some branded “T.S” and Co, Melbourne”), kegs of nails branded “A.T. and Co.” from the factory of A. Field and Son, Taunton, Massachusetts, croquet balls and mallets, buggy fittings, rat traps, perfumery, cutlery and Douay Bibles, clocks, bicycles, chairs, a fly wheel, a cooking stove, timber, boxes, pianos, organs and a ladder. (Wooden clothes pegs drifted in for many years). There seemed to be no personal luggage or clothing. The Pharos encountered a long line, about one and a half miles, of floating wreckage about 10 miles off land, south east of Cape Otway, and in some places about 40 feet wide. It seemed that more than half of it was from Eric the Red. The ship’s crew rescued 3 cases that were for the Melbourne Exhibition and other items from amongst the debris. There were also chairs, doors, musical instruments, washing boards, nests of trunks and fly catchers floating in the sea. Most of the goods were saturated and smelt of kerosene. A section of the hull lies buried in the sand at Parker River Beach. An anchor with chain is embedded in the rocks east of Point Franklin and a second anchor, thought to be from Eric the Red, is on display at the Cape Otway light station. (There is a photograph of a life belt on the verandah of Rivernook Guest House in Princetown with the words “ERIC THE RED / BOSTON”. This is rather a mystery as the ship was registered in Bath, Maine, USA.) Parts of the ship are on display at Bimbi Park Caravan Park and at Apollo Bay Museum. Flagstaff Hill Maritime Village also has part of the helm (steering wheel), a carved wooden sword (said to be the only remaining portion of the ship’s figurehead; further research is currently being carried out), a door, a metal rod, samples of wood and a medal for bravery. Much of the wreckage was recovered by the local residents before police and other authorities arrived at the scene. Looters went to great effort to salvage goods, being lowered down the high cliff faces to areas with little or no beach to collect items from the wreckage, their mates above watching out for dangerous waves. A Tasmanian newspaper reports on a court case in Stawell, Victoria, noting a man who was caught 2 months later selling tobacco from the wreckage of Eric the Red. Some of the silverware is still treasured by descendants of Mr Mackenzie who was given these items by officials for his help in securing the cargo. The gifts included silver coffee and tea pots, half a dozen silver serviette rings and two sewing machines. The wreck and cargo were sold to a Melbourne man who salvaged a quantity of high quality tobacco and dental and surgical instruments. Timbers from the ship were salvaged and used in the construction of houses and sheds around Apollo Bay, including a guest house, Milford House (since burnt down in bushfires), which had furniture, fittings and timber on the dining room floor from the ship. A 39.7 foot long trading ketch, the Apollo, was also built from its timbers by Mr Burgess in 1883 and subsequently used in Tasmanian waters. It was the first attempt at ship building in Apollo bay. In 1881 a red light was installed about 300 feet above sea level at the base of the Cape Otway lighthouse to warn ships when they were too close to shore; It would not be visible unless a ship came within 3 miles from it. This has proved to be an effective warning. The State Library of Victoria has a lithograph in its collection depicting the steamer Dawn and the shipwrecked men, titled. "Wreck of the ship Eric the Red, Cape Otway: rescue of the crew by the Dawn".The Eric the Red is historically significant as one of Victoria's major 19th century shipwrecks. (Heritage Victoria Eric the Red; HV ID 239) The wreck led to the provision of an additional warning light placed below the Cape Otway lighthouse to alert mariners to the location of Otway Reef. The site is archaeologically significant for its remains of a large and varied cargo and ship's fittings being scattered over a wide area. The site is recreationally and aesthetically significant as it is one of the few sites along this coast where tourists can visit identifiable remains of a large wooden shipwreck, and for its location set against the background of Cape Otway, Bass Strait, and the Cape Otway lighthouse. (Victorian Heritage Database Registration Number S239, Official Number 8745 USA)This carved wooden sword, recovered from the Eric the Red, is possibly the only portion of the figurehead recovered after the wreck. There are spirals carved from the base of the handle to the top of the sword. The hilt of the sword is a lion’s head holding its tail in its mouth, the tail forming the handle. The blade of the sword has engraved patterns on it. Tiny particles of gold leaf and dark blue paint fragments can be seen between the carving marks. There are remnants of yellowish-orange and crimson paint on the handle. At some time after the sword was salvaged the name of the ship was hand painted on the blade in black paint. The tip of the sword has broken or split and the remaining part is charcoal in appearance. On both the tip and the base of the handle are parts made where the sword could have been joined onto the figurehead There is a white coating over some areas of the sword, similar to white lead putty used in traditional shipbuilding. The words “ERIC the RED” have been hand painted on the blade of the sword in black paint sometime after it was salvaged.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, sword, wooden sword, eric the red, carved sword, figurehead, snake head on sword

This money box is believed to be an antique Prattware piece modelled on a n English Methodist Chapel. It was a gift to a young girl, Sarah Ann Esam born in 1850 in Lincoln, England. Her parents John and Ann Esam emigrated to Australia in 1865 with six children one of whom was Sarah. John Esam became well known in Warrnambool as an engineer and windmill maker. His best known windmill is the one he made for "Lyndoch". Sarah Ann Esam died in Henna Street, Warrnambool in April 1915 on Easter Monday. This money box is of considerable significance because of its age, its artistic attractiveness and its connection to the Esam family who were prominent in Warrnambool in the 19th century. This glazed piece of pottery is a child's money box modelled on an English Methodist Chapel. It has a blue tiled roof with yellow edges, a slot for coins at the back.and two chimneys at each end of the building. The primary colour of the cottage is white It has two storeys, the upper one has six lead light windows framed with yellow and the ground storey has two brown doors with lead light fan windows. There is a pink colored figure standing in one corner of the base. The base is green representing grass. The edges of the base feature blue crosses interspersed with yellow dots. The black inscription on the front is artistically written. One chimney is damaged.as are the four base corners. S. ANN. ESAM. Born August 8th LINCOLN 1850esam, money box, prattware

This music stand belonged to Eva Veronica Gaspar. Miss Gaspar (1913 -1978) was one of Warrnambool's most notable musicians and photographers. She gave free music lessons to Warrnambool and district children, organised choral festivals and ran a printing business. She was a life member of the Warrnambool Music Society and organized the Mozart Music Festival for many years. She was a Warrnambool Citizen of the Year 1956 and was awarded a British Empire Medal in 1972 for her services to music. She also conducted the Warrnambool Civic Orchestra, St. Joseph's church choir, junior choirs and recorder groups. In 1977 she held an exhibition at the Warrnambool Art Gallery of her photographs, drawings and monochromes. This music stand was used by Eva Gaspar mainly in Mozart Hall in Gilles Street. This stand is of interest as a memento of the work of Eva Gaspar an important musician in Warrnambool in the twentieth century.This is a wooden music stand with a circular base on four feet. The base has an outer ridge with a shallow indent and a domed top into which the pedestal is attached. The pedestal has decorative features . The ledge at the top is rectangular shaped with a projecting curved edge at the base. The top has a compartment for holding music and/or notes. The pedestal is attached to the top tray with a circular brace and metal screws. The whole item has been varnished but is stained and rubbed. Underneath the tray are stencilled letters in white paint.C. W. M.S.eva gaspar, music stand

This is a food cover, most commonly used in homes in the days before refrigeration and plastic containers. It usually contained food, mainly meat, to protect it from flies, heat or draught while allowing the air to circulate around it and it could be hung in sheds, kitchens, cellars etc. This food cover is retained as a memento of domestic objects used in the past and will be useful for display purposes.This is a food cover made of metal with a circular base and decorative sides, finely pierced to create a mesh pattern. It has a fluted and patterned top with a ring handle. It is rusted.vintage kitchen items, warrnambool & district historical society collection

Tea has always been a common drink in Australia and before the introduction of tea bags a teapot such as this was used to infuse the tea leaves. This item is a decorative piece and would have been used for special occasions. The use of tea bags in both teapots and cups became widespread in the 1960s in Australia. Tea bags are the popular choice today for tea drinkers.This item has no known local provenance but is retained as a fine example of a vintage tea pot. This is a white china teapot with a lid which contains a steam hole and a handle. The spout has gold patterning. The handle is painted yellow with a gold strip. The lid has a yellow and blue decorative band and is decorated with flowers and gold pattern. The body of the teapot has the same decoration as the lid. The name of the country of origin and a number are on the base. Made in Japan tea pot, vintage domestic item, tea making in australia

These two orange-coloured dishes are made of pressed glass to which an iridiscent surface shimmer has been added by the application of metallic salts. They are examples of Carnival Ware and the orange colour is known in the trade world as 'marigold'. Carnival Ware was first produced in 1908 as a relatively cheap version of decorative glassware in U.S.A. and this country was the main producer up to the 1940s, with the 1920s being the decade when it was most popular. Carnival Ware was also produced in other countries including Australia and the United Kingdom and is a collectable item today. These two dishes have no known local provenance and are retained as examples of vintage household items serving both a utilitarian and a decorative purpose..1 An oval shaped shallow glass dish with pressed patterns and handles at either end. The item is orange-coloured. .2 as abovecarnival ware, orange glass dishes, vintage decorative items

This item is an example of Carnival Ware glass. Carnival Ware is pressed glass to which an iridescent surface shimmer has been applied using metallic salts. The trade name of the colour is 'Marigold'. Carnival Ware was first produced in U.S.A in 1908 and production in both U.S. A. and other countries continued until the 1940s, with the 1920s being the decade when it was most popular. It was a cheaper version of a decorative item for the household as well as having a utilitarian purpose and is a collectable glass today.This vase has no known local significance but is retained as an example of an item likely to be found in many local households of the 20th century.This is an orange-coloured pressed glass vase. It is on a stand of three legs and has a fluted patterned top rim. The body of the vase has raised decorations of butterflies and berries.carnival ware, vintage glass ware, carnival ware glass vase

These two items have been linked together as a decorative pair but it is not clear why, as the sphere or bulb does not have an opening and cannot hold a light and there is nothing very attractive about the two items as they appear today. The stand may have been set in front of a coloured light to ensure reflection or the sphere may have been decorated in some way.These items are kept as ornamental curiosities.This is a clear glass sphere on a metal stand. The stand is painted light brown and has a fretwork decorative base, a moulded stem and an open top with a curved pattern edge.vintage ornaments, glass ornaments

This watering can would have been used some decades ago to water pot plants and small plants in the garden requiring individual watering. Today watering cans are still used but mostly they are made of plastic although some cans are made in other materials for decorative reasons. Enamel is a hardy material but it chips when the object is knocked or dropped. This watering can has no known local provenance but is retained as an example of a common household item from early in the 20th century. This is an oval-shaped enamel watering can. It has two handles, a spout and a hinged lid. The can is very rusted. ‘Made in England’vintage household items, vintage watering can, enamel watering can, warrnambool

Hand-held kerosene lamps were introduced in the late 1800s for lighting homes prior to the introduction of electricity. This lamp was used in the Bridge Hotel during early European settlement and migration to the area.This lamp is the only example of domestic lighting within the collection. It belongs to the objects relating to the interpretation of Echuca's Bridge Hotel, built by European founder Henry Hopwood.Ornate pressed metal base (4 sided) with floral design. Featuring a ribbed blue glass fuel fount, a four-pronged metal carrier (that would hold a flat cotton wick) with small circular knob (a mechanism for adjusting the wick) and a bulbous clear glass chimney with decorative scalloped edge.lamp, glass, blue glass, kerosene, flat wick, 1800s

Permewan Wright & Co Ltd were one of the biggest shipping agents on the Murray in the 2nd half of the 19th century. They were a cartage company established in 1856 in Geelong, who opened one of its twenty Victorian branches at Echuca in 1875. The company dominated the river trade in Echuca during the 1880s and 1890s, operating a fleet of steamers on the Murray, Murrumbidgee and Edwards Rivers.Off White Vase with blue decorative Permewan Wright Co Flag. Thin blue lines encircled at top and middle. Slightly scalloped opening.Decorative Scrolls embossed on one side. permewan wright, river transport, permewan wright building, permewan wright flag

This picture frame was hung in the Bridge Hotel in the upstairs display that was assembled in the 1970s and can be seen in some of the photographs taken upstairs over the decades in the Port Collection. A round wooden photo frame decorated with carved circles with a sepia circular photo of young woman with voluminous hairstyle inside it. She has a triple strand of pearls around her neck. At the bottom of the photo if written Talma & Co, Swanston St, Melbourne. A brown string like a shoe lace is threaded through 2 hooks to hang it from.'Part of her mother's effects, K Robertson, born 1886 carved this frame as a girl probably around 1903. Subject not known, a friend perhaps.' written on the back of the photo. bridge hotel, k robertson, talma & co, picture frame