Portrait photographs of royal figures were hung in government offices and buildings. In some cases they were also displayed in homes. There are numerous portraits of Queen Elizabeth II most of which have been widely reproduced.Framed portrait photograph of Queen Elizabeth II, taken June 2, 1954, by Cecil Beaton. Although the image appears at first glance to be set in Westminster Abbey, the photographer actually employed a theatrical backdrop for the photo, which was taken in a drawing room at Buckingham Palace. Her Majesty wears the imperial state crown, created for Queen Victoria’s 1838 coronation, and holds the orb and scepter, looking every bit the picture of reigning British royalty.queen elizabeth ii, cecil beaton, royal portraits

Originally labelled "Beauville Estate, Established 1936, Still Thriving 65 years on, 10th March 2001", the Beauville Estate Album contains colour photographs of houses in the Estate. They were taken around the time of the Beauville Estate’s 65th Heritage Celebration held on 10/03/2001 and donated to the Caulfield Historical Society shortly afterwards. Photographer Bev Baxter. From Glen Eira’s Heritage Management Plan by Andrew Ward (1996) Vol 2 p63: The inclusion of shops in Murrumbeena Road and a common parkland developed at the rear of the properties were complemented by the construction of a gas display home at No. 10 Beauville Avenue.City of Glen Eira’s Heritage Management Plan Vol 2 p79 (this is p84 of the pdf version) – HO12 Beauville Estate and environs, Murrumbeena: The Beauville Historic Area is important at the State level as the first large housing estate undertaken by the AV Jennings Construction Co, later Jennings Group Limited, Victoria’s largest home builder. It is important also as a very early estate development incorporating a range of features other than houses and including made roads, shops and recreation facilities. In this respect it was the forerunner of the comprehensively planned housing estate of the post war era. The estate is distinguished by its aesthetic values, as is the earlier and comparable Hillcrest Estate, which are formed by a combination of restrained diversity in house styles, with the exception of no. 30 in the emerging International style, and by a landscaped garden environment. Colour photograph of cream rendered house with decorative unpainted brown brick features. Other features include a porch with two decorative open arches, tiled roof, 2 sets of matching double sashed windows with large square pane within each set, agapanthus lining the brick paved driveway and a cast iron work metal letterbox with number "10" on it. murrumbeena, houses, beauville avenue, architectural styles, 1930's, inter war style, a.v. jennings, av jennings, jennings, brick houses, beauville estate, porches, arches, sir albert victor jennings, a v jennings construction co, beauville estate heritage area, glen eira city council, architectural features, jennings group limited, land subdivision, gardens, beauville historic area, brick features, sash windows, paved drives, cast iron work, letter boxes, gas display houses

Richard Bate built ‘Avondale’ at 176 Union Road in 1883 as a display home for subdividers of the Windsor Park Estate auction in that year. Richard built many homes in the locality – probably including No.101 Guildford Road, almost identical to his home. Richard also built the Box Hill Shire Hall in the 1880s (replaced in 1934 by the Box Hill Town Hall). Richard junior and family retained this house until the 1950s. Occupied in 2000 by Julie Ellis. In May 2000 Richard's grandson Jack Bate and great-grandsons Alan and Geoff (all of whom are builders) visited 7 Norris Street and lent this photo for copying. Demolished after subsequent sale. A black and white photograph of a Federation/Edwardian style timber house with detailed lacework around the veranda. There is a man standing on the right side of the photo. He is wearing a hat and is sporting a long white beard.norris street, surrey hills, house names, avondale, camelford, windsor park estate, box hill shire hall, builders, federation style, edwardian style, richard bate

"Fulling", pronounced Fu-elling, the 'display home' of Gordon Ford landscape designer and consultant. From 1945 he transformed one and a half acres of treeless grassland into a splendid bush garden complete with a waterfall and ponds. He used sawdust and wood shavings as a base for the bush floor. The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, fulling, gordon ford garden, pitt street

"Fulling", pronounced Fu-elling, the 'display home' of Gordon Ford landscape designer and consultant. From 1945 he transformed one and a half acres of treeless grassland into a splendid bush garden complete with a waterfall and ponds. He used sawdust and wood shavings as a base for the bush floor. The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, fulling, gordon ford garden, pitt street

"Fulling", pronounced Fu-elling, the 'display home' of Gordon Ford landscape designer and consultant. From 1945 he transformed one and a half acres of treeless grassland into a splendid bush garden complete with a waterfall and ponds. He used sawdust and wood shavings as a base for the bush floor. The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, fulling, gordon ford garden, pitt street

"Fulling", pronounced Fu-elling, the 'display home' of Gordon Ford landscape designer and consultant. From 1945 he transformed one and a half acres of treeless grassland into a splendid bush garden complete with a waterfall and ponds. He used sawdust and wood shavings as a base for the bush floor. The 1993 Eltham Heritage Tour was enjoyed by a busload of members of the Historical Society on a fine, calm day, Sunday May 23rd. Between 10.00 am and 4.30 pm, except for a brief lunch stop at the Eltham Living and Learning Centre, members passed about thirty places of local interest and others recommended for the Historic Buildings Register and the Register of the National Estate. A number of significant trees and buildings were also highlighted along with the opportunity to explored some of the properties.35mm colour positive transparency (1 of 24) Mount - Kodak Kodachromeactivities, shire of eltham historical society, heritage excursion, eltham, fulling, gordon ford garden, pitt street

Miniatures such as these are still made today as collection pieces and can be seen on display in some houses. Some of these items might also be used as furnishing pieces in dolls houses though dolls houses with quality fittings are not bought or sold today as much as in the past. These china miniatures have no known local provenance but are retained for display purposes.These five items are miniature china pieces, used in a doll’s house or as collection pieces for display in a home. .1 Miniature house in red and cream colouring .2 Miniature basket in brown and cream colouring .3 Miniature jug or pot in brown and cream colouring (handle broken off) .4 Miniature jug in brown and cream colouring .5 Miniature brown urn .1 Englandwarrnambool, antiquarian household items, history of warrnambool

Subdivison maps of Woodland Ridge Estate. Stage 1 includes Berringa Road, Oban Road, Athelstane Drive, Braimton Close, Karima Court, Tania Place, Runyan Court. Stage 2 includes Athelstane Drive, Cormiston Road, Linda Place, Casula Place, Oban Road. State 3 includes Williams Road, Athelstane Drive, Tania Place and Cormiston Road. Developer - A.V. Jennings Industries (Aust) Ltd., 690 Springvale Road, Mulgrave, 3170. Phone 560 8411. Supplementary page with early 2000s sale prices for eight addresses - 16 Athelstane Drive Ringwood 3134 $210,000 4/4/2000 19 Athelstane Drive Ringwood 3134 $235,000 14/1/2000 27 Cormiston Road Ringwood 3134 $246,000 28/10/2000 1 Runyan Court Ringwood 3134 $183,000 2/5/2001 4 Runyan Court Ringwood 3134 $179,000 14/8/2000 11 Runyan Court Ringwood 3134 $193,000 28/4/2000 7 Runyan Court Ringwood 3134 $187,500 14/1/2000 4 Casula Place Ringwood 3134 $216,000 13/2/2001 Accompanying handwritten notation by Richard Carter R.E.S.I. - "Purchaser of 'Pre-planned Development' lots also agreed to purchase the house planned for the lot. Bramton Court "Witheld" for display homes. Stage 3 one acre sites drained north therefore not readily sewered."

Sculpture was made by a personal friend of the subject in the mid 1940's and displayed in the home of the subject's son, John B. Crosbie until 2001. Bernard Crosbie (subject) was the nephew of Michael Loeman, former Shire of Bulla President and owner of 'Glen Loeman'. Bernard Crosbie and his brother inherited Glen Loeman from Michael Loeman.Bust of a man, Bernard Michael Crosbie, President of Bulla Shire 1936-1937. Made from plaster of Paris (?) painted metallic brown.crosbie, bernard michael, shire presidents, shire of bulla, loeman, michael, glen loeman, houses, george evans collection

Photo was taken in front of the front door of 'Camelford', 7 Norris Street. The presence of the red cross suggests that it was taken during the First World War. Two of the couples' surviving sons served in the war - Frederic George Bate (SERN 1945); Richard Alfred Bate (SERN 695); the third was rejected because he had lost a finger in an accident. Richard Bate came to Australia in 1868 from Cornwall - the house was named after the town there. He was a cabinetmaker and settled in Angaston, SA for a year before coming to Melbourne where he worked as a builder. He built ‘Avondale’, 176 Union Road (dem.) circa 1883 as a display home for the Davies family, subdividers of the first land auction in Surrey Hills. He built many houses including his retirement home at 7 Norris Street (demolished after 2000). In the 1880s Richard also built the Shire Hall in Station Street Box Hill, replaced in 1934 by the Box Hill Town Hall. Two of his sons were also carpenters. Richard died in 1937 aged 93 and his wife Annie Matilda died in 1935 aged 83; both are buried in Burwood Cemetery. House was rented out until probate was settled. Occupied in 2000 by Julie Ellis. REF: Letter to Julie Ellis from Jack Bate of Mildura, grandson of Richard and Annie Bate, dated 29/2/2000.A black and white photocopy of a photograph of a man dressed in a suit, standing beside a lady, seated, wearing a long sleeved, light coloured blouse and a long ankle length skirt. They are in front of a front door with lead light windows.mr richard bate, mrs annie bate, norris street, house names, camelford, avondale, union road, box hill shire hall, builders, ms julie ellis, davies family, annie matilda bate, richard alfred bate, frederic george bate, burwood cemetery, jack bate

Collection of images taken by the Royal Blind Society of New South Wales and used by Ron Black to promote the work of the society. These include a young child finger painting, an adult walking a rope bridge, rowing, a talking book machine (TBM), a narrator in the studio, Rob McQuillan using a TBM, staff sorting mail, transcribing print into Braille and proof reading Braille, Dawn Davis with a refreshable Braille display, and daily home living skills such as cutting up food, using a CCTV to read a newspaper and Michael Simpson using a computer in the office.14 coloured photographs previously stored in albumroyal blind society of nsw, rob mcquillan, dawn davis, michael simpson

This earthenware dinner plate fragment is very similar to others recovered from the wreck of the LOCH ARD. It is uncertain whether the plates were personal belongings or part of the cargo. The Asiatic Pheasant pattern is a transfer design and was the most popular design of the 19th century Victorian era. It is still being produced today. The design was produced as high quality, decorative dinnerware by the potters in the Staffordshire, England, area from the late 1830’s, but no-one is sure exactly who the original designer was. The industrial age made production of this design more affordable to the ordinary person who purchased and proudly displayed settings in their homes. The high demand for production resulted in loss of quality in both potting and design, particularly between 1860-1914 when the design reached its height of popularity, and the results were often a poor match for the earlier pieces’ quality and detail. Some engravers would make copies of the Asiatic Pheasant design (and other designs) onto copper plates and sell them to more than one pottery producer (the Copyright Act of 1842 was intended to control this very thing). Consequently the list of Makers’ Marks associated with the Asiatic Pheasant is well over 100. A single pottery factory could have several owners, all with their own Marks. These factors all make the dating of pieces difficult. Also, after 1891, pieces produced for the export were required to be stamped with “ENGLAND”, but pieces produced for the domestic market in England did not need this stamp, so early pieces and pieces produced for the domestic marked would all be without the “ENGLAND” stamp, confusing the matter. Over time the body shape of the pieces changed, the feathered, curved and fluted edges giving way to the simpler, cheaper oblong shapes. 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 nine 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. [References: Flagstaff Hill Maritime Village information sheets and documents, http://www.asiaticpheasants.co.uk/index.html ]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. Fragment of earthenware dinner plate recovered from the wreck of the Loch Ard. White glazed porcelain with blue Asiatic Pheasant design; this piece shows a pheasant. Sticker underneath has blue pen handwriting "L/58". Asiatic Pheasant Cartouche has Maker’s name (hard to decipher). Stamped underneath "0 1 2 8 1 (or 9)" Sticker underneath has blue pen handwriting "L/58". Asiatic Pheasant Cartouche has Maker’s name (hard to decipher). Stamped underneath "0 1 2 8 1 (or 9)" flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, dinner plate, asiatic pheasant, loch ard, plate

This earthenware dinner plate was donated by Lorna Jensen. It had belonged to her father Wally O’Brien, who was a cyclist and had ridden in the long Melbourne to Warrnambool Cycle Classic twice. Wally was given this plate by a diving friend who had recovered it from the wreck of the LOCH ARD, on the southwest coast of Victoria. The plate had been sitting in Lorna’s mum’s china cabinet until recently when she and her husband drove to Warrnambool to donate it to Flagstaff Hill Maritime Village. When they stopped at a friend’s home along the way the friend removed it from its plastic bag and tea towel and carefully wrapped it in protective packaging for the rest of its journey. The plate is very similar to other plates recovered from the wreck of the LOCH ARD. It is uncertain whether the plates were personal belongings or part of the cargo. The Asiatic Pheasant pattern is a transfer design and was the most popular design of the 19th-century Victorian era. It is still being produced today. The design was produced as high-quality, decorative dinnerware by the potters in the Staffordshire, England, area from the late 1830s, but no one is sure exactly who the original designer was. The industrial age made the production of this design more affordable to the ordinary person who purchased and proudly displayed settings in their homes. The high demand for production resulted in the loss of quality in both potting and design, particularly between 1860-1914 when the design reached its height of popularity, and the results were often a poor match for the earlier pieces’ quality and detail. Some engravers would make copies of the Asiatic Pheasant design (and other designs) onto copper plates and sell them to more than one pottery producer (the Copyright Act of 1842 was intended to control this very thing). Consequently, the list of Makers’ Marks associated with the Asiatic Pheasant is well over 100. A single pottery factory could have several owners, all with their own Marks. These factors all make the dating of pieces difficult. Also, after 1891, pieces produced for export were required to be stamped with “ENGLAND”, but pieces produced for the domestic market in England did not need this stamp, so early pieces and pieces produced for the domestic market would all be without the “ENGLAND” stamp, confusing the matter. Over time the body shape of the pieces changed, the feathered, curved and fluted edges giving way to simpler, cheaper oblong shapes. 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, umbrellas, 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 were intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3 am 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 4 am 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 their 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 a 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 were 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 nine 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.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.Plate, earthenware dinner plate recovered from the wreck of the Loch Ard. Blue transfer design (Asiatic Pheasant) with a clear over-glaze. The outer rim is scalloped. Printed within cartouche on underside of plate "_ H E C L " Printed within cartouche on plate "_ H E C L "flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, tom pearce, eva carmichael, loch ard, asiatic pheasant design, dinnerware, ceramic plate, wally o’brien, dinner plate

This majestic peacock embodies the technical achievement, skill and ingenuity of artisans during the 19th century. It is now known as the 'Loch Ard Peacock' and was designed and modelled in 1873 by Paul Comolera (1818-1897) and fired in one piece at the Minton factory at Stoke-on-Trent in the United Kingdom in 1875. The peacock has been portrayed in symbolic motifs and has figured heavily in folktales and fables since antiquity, and many cultures around the world see it as a symbol of beauty, rebirth and power. Wealthy Victorians loved majolica, and the large peacock would have been the ultimate home accessory as a conservatory ornament – combining their desire for nature, the exotic and vibrant colours. The peacock model was listed in catalogues by Minton & Co. for a retail price of 35 guineas or sold as a pair for 90 guineas. Minton & Co. was founded in 1793 by Thomas Minton (1765–1836) and became a famous pottery and porcelain manufacturer. Comolera was a French artist and sculptor, renowned for dramatic naturalistic forms and life-size renditions of birds and animals that won him admiration in public and artistic circles. He was employed by Minton & Co. from 1873 to 1880, and the life-sized peacock became his best-known work. Comolera kept a live peacock loaned from the nearby Duke of Sutherland's Trentham Hall Estate in his studio to create a life-size model of fine buff earthenware model, which was then hand painted in brilliantly coloured green and blue glazes to mimic the peafowl’s dazzling plumage. There are no surviving production records, but according to documents in the Minton Archive, nine peacocks were made by Comolera. However, today, some historians now believe that twelve were fired at the Minton factory; research is ongoing. These peacocks were so admired that Minton & Co. used them as exhibition showpieces at International Exhibitions in London, Paris, and the United States of America, ensuring the company had a worldwide reputation. So, when Melbourne hosted an International Exposition in 1880, Minton & Co. sent out ceramics and tiles, and in particular, this peacock was intended to be part of their exhibit in the British Court in the Exhibition Building, built in the Carlton Gardens. The early dispatch date (1878) indicates that the company may have intended to exhibit their wares, including the peacock, at the 1879 Sydney International Exhibition, but the company did not take up this option. The ship that Minton & Co. used to bring the peacock and their other wares to the Australian colonies was the ill-fated Loch Ard, which sunk after striking Mutton Bird Island near Port Campbell, Victoria, in calm foggy weather in June 1878 on the final leg of the ship's journey to Melbourne. The loss of 52 lives made it one of Victoria’s worst shipwrecks. Therefore, this peacock never made it to the grand exposition in Melbourne, as Minton & Co. had planned. Charles McGillivray dragged this peacock, still in its original packing case, onto the beach in the gorge just two days after the Loch Ard went down. The peacock was rescued unscathed apart from a chip on its beak (only repaired in 1988). After a disagreement with a Melbourne Customs Officer, Joseph Daish, McGillivray stopped his salvage operations, leaving the peacock on the beach. The second salvagers were James Miller and Thomas Keys. Miller was a member of the firm Howarth, Miller and Matthews, Geelong, who had brought the salvage rights to the Loch Ard wreck on 10 June. When Miller and Keys arrived at the wreck site, a storm had washed many of the salvaged goods, including this peacoc,k back into the sea. The two men found the peacock in its case ‘bobbing along in the water’ and pulled it back to the beach. To ensure the peacock wasn't washed out to sea again, Miller and Keys hauled the packing case containing the peacock up the gorge's cliff face to the top, ready to be transported. In an interview in 1928, Keys claimed that at the time of the rescue, the head had broken from the body. This account was proven to be true in 1988, following the birds' display in Brisbane. This peacock began its life in Australia, not in the grandeur of an International Exhibition as intended, but in the hallway of a simple domestic house in Geelong. It appears Minton & Co. did not attempt to buy this peacock back. Florence Miller, daughter of James Miller (Loch Ard salvage rights holder), later remarked that the only item of real value rescued from the wreck had been the peacock and that this had been kept by her father in the family home at Malvern for many years and became a treasured family possession. As such, this 'Loch Ard peacock' was almost forgotten and mistaken with other Minton peacocks around the world. Miss Florence Miller tried to sell the peacock due to financial difficulties in the 1930s but was unsuccessful. While attempting to sell her Loch Ard relic, it was displayed in the window of the old Argus newspaper office, which was at 76 Collins Street, Melbourne; the Argus had relocated to the corner of Elizabeth and La Trobe Streets in 1926. Between 1935 and 1939, the old Argus building was occupied by the Joshua N. McClelland Print Room, which sold not only paintings and prints but also antiques and authentic replicas, as well as hosting exhibitions. Miss Florence Miller loaned her peacock for display at the Victorian Historical Exhibition held in the National Gallery on 1st June 1935, the 57th anniversary of the Loch Ard wreck. As a result, the peacock attracted public attention in books, newspapers and magazine articles that told the story of its survival from a shipwreck. Miss Florence Miller was keen to sell the peacock, even writing overseas to Captain Blain on November 30th, 1938, about the possibility of a sale, but this became no longer possible due to the outbreak of war. Recent information points to the Loch Ard peacock being owned by John S R Heath before its sale to Frank Ridley-Lee in May 1941. Research is ongoing, but it seems likely that John Samuel Robert Heath, a leading Melbourne dentist with a practice in Collins Street, and his wife, a dental mechanic, had purchased Miss Miller’s Loch Ard peacock before its sale in 1941. They were lovers of fine arts, music, wine and food. The peacock in the window of the old Argus building could have attracted their attention as they had already purchased the old stone Presbyterian Church on Warrigal Road, Oakleigh, in 1933 and had converted its interior. The home, renamed The Studio, even included Melbourne’s first all-electric kitchen. The peacock was perfect for display in the Studio’s entrance. A magazine article published after the conversion was completed included photographs of the interior. The picture of the ‘portico’ had a caption below that stated, “Some of her [Mrs Heath’s] finest pottery was salvaged from the Loch Ard Wreck”. In 2025, Heath’s two remaining sons remember running around in the entrance with the peacock standing there, oblivious to its value. Heath was an accomplished artist, studying under Max Meldrum. He painted and exhibited his works at The Studio and in a public exhibition, and he was a finalist eight times in the coveted Archibald Prize portrait competition, including the submission of his self-portrait that is now part of his grandson’s collection. The next owner of the Loch Ard Peacock was Frank Ridley-Lee. He displayed it at his home in Ivanhoe after buying it at an auction in May 1941. The peacock remained in the hands of the Ridley-Lee family until it was offered for sale by auction in 1975 as part of an art collection belonging to Mrs Ridley-Lee's estate. The peacock was not sold at this time, as the reserve price of $4500 was not met. This news was passed on to the board of the newly created Flagstaff Hill Maritime Village. Urgent efforts were made to collect the necessary money through fundraising by the Warrnambool City Council and public donations. The Fletcher Jones Company and the Victorian Government contributed half the cost. On 9 September 1975, the Loch Ard peacock was purchased by Flagstaff Hill Maritime Village, and it found a new home at the maritime museum. Since then, it has only left Warrnambool twice. Firstly, in 1980, at the centenary celebrations of the Royal Exhibition Building in Melbourne, and secondly, in 1988, the peacock was given pride of place at the entrance to the Victorian Pavilion at the Brisbane World Expo, acknowledging that this Minton Majolica peacock is the most significant shipwreck object in Australia. The Minton majolica peacock is considered of historical social and aesthetic significance to Victoria and is one of only a few 'objects' registered on the Victorian Heritage Register (H 2132), as it is a most notable and rare object associated with the Minton factory of the 1870s and works by the celebrated sculptor Paul Comolera along with the wreck of the Loch Ard on the Victorian coastline. This Minton peacock is historically significant for its rarity; it was one of only 9-12 known to exist. The shipwreck of the Loch Ard is also of significance for Victoria and is registered on the Victorian Heritage Register Ref (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's early social and historical themes. The collection is historically significant is that it is associated, unfortunately with the worst and best-known shipwreck in Victoria's history. The peacock, resplendent in polychrome glaze, stands perched on a rocky plinth decorated with vines, leaves, flowers, blackberries and wild mushrooms. The peacock’s breast is cobalt blue; the wings and legs are in naturalistic colours. The tail is a mass of feathers coloured in green, ochre blue and brown — a fantastic display of artistry and Minton expertise. Inscribed at the base :P Comolera, and a Minton & Co. design number: 2045.flagstaff hill, warrnambool, maritime museum, shipwreck coast, loch ard, loch ard gorge, peacock, paul comolera, victorian heritage register, minton peacock, minton & co., stoke upon trent, bird figures, mintons, ceramics, international expositions, majolica, naturalistic, staffordshire, john samuel robert heath

The Dusky Woodswallow is often found in flocks which can be located in two separate populations. The Eastern population if located in Atherton Tableland in Queensland south to Tasmania and west to Eyre Peninsula in South Australia. The other population is found in south-west Western Australia. They reside in open forests and woodlands. This species is surprisingly aggressive and may fight with other Woodswallows for territory and nest sights. They will even chase raptors away from their homes. This species flies in flocks of around 10 to 30 birds which cluster together. In terms of diet, these birds eat insects and nectar from flowers. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Dusky Woodswallow has largely deep brown colouring with some areas of grey on the head, neck and chest. There is a deeper brown colouring between the wings on the back of the specimen and the wings are black. This bird has a small curved bill which is grey and white. The legs are dark grey and the bird has long talons with an extra long toe in the centre. The eyes are made of brown glass with a back pupil. The bird is styalised standing on a wooden mount and has a paper identification tag attached to its right leg.[torn] / 9 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, swallow, woodswallow, dusky woodswallow

This photograph is recorded as having been taken in the North East Victoria Regional Tourist Authority, Wangaratta and depicts an exhibition display of items and interpretative labels associated with the Kelly Gang. The display was reportedly laid out as part of a Vic Tour Stamp, with items from the Burke Museum Collection.This photograph is of social significance due to its connection with the Burke Museum as well as the Kelly Gang. The Kelly Gang story is integral to the formation of the Australian identity and highlights the Irish oppression during the 1880s. Ned Kelly is an Australian icon, mythologised in Australian literature, art, folklore and history, and the Kelly Gang permeates Australia's national consciousness. The significance of the Burke Museum is also highlighted here, as the photograph shows the importance of the Kelly story to the Beechworth area and local identity, as well as its significance within the museum collection. The photograph is of strong research potential due to its depiction of the Kelly Gang history in Australia and its presentation of a historical museum exhibition which toured from Beechworth to other Victorian locations. With a depiction of the exhibition and associated label, the photograph provides insight into how the language and historical interpretation of Kelly Gang has developed, and how cultural and social opinions which are often shaped by exhibition displays, have shifted. Black and white rectangular photograph printed on matte photographic paper.Obverse: Gold Cradle / History / Claim 1835 / The north east is rich in history. It was the home of Ned Kelly, the 'Man from Snowy River' and (???) dog Mogan. Century old buildings are common and (???)nders of the gold rush days are everywhere / V. R. / £8000 Reward / Robbery and Murder / (indeterminate) Reverse: The historical display laid out in VICTOUR / 1997 3135 / North East Victoria/ Regional Tourist Authority/ P.O. Box 250/ Wangaratta. 3577 /BMMA03324burke museum, ned kelly, kelly gang, museum collection, exhibition, display, gallery, museum, exhibit

Beechworth Town Hall was designed by architects J.J. Coe and Thomas Dalziel and is dated to 1859. The building was made of granite and constructed to local builders Donald and William Fiddes. The original front to the building was replaced by a two story facade in 1889 designed by George Jobbins and built by Thomas Sandham according to a plaque on the front. The Town Hall is remarkable for its vaulted ceilings and columns. Originally the building was used as the Shire Offices but also doubled as a fire station and a courthouse, with still surviving cells underneath. Among the inmates was notorious bushranger Harry Power who was originally transported to Van Dieman’s Land for stealing a pair of shoes. He gained his freedom six years later but spent time in and out of gaol for the rest of his life for a variety of offences including a number of armed robberies. The Town Hall is now home to the Visitor Information Centre which helps visitors with amongst other things, accommodation, tours, event enquiries, and is the commencement point for Precinct walking tours. The Beechworth Town Hall is one of five distinctive granite buildings on Ford Street that comprise the Justice Precinct. It is of considerable historical significance as activity on the site dates from Australia’s gold rush period and was the administrative centre for north-eastern Victoria. The building has seen continual use from 1858 as an important public building and displays many aspects of the history of law enforcement in Victoria. The building is also of substantial architectural significance for its construction from local honey coloured granite, which also showcases early stone masonry techniques and craftsmanship. The Precinct is listed on the Victorian Heritage register and is protected by Heritage Victoria under the Victorian Heritage Act 2017. The buildings are also registered by the National Estate, the National Trust and protected by Indigo Shire Council’s Planning Scheme. Black and White rectangular postcard printed on cardReverse: 1906-1910?beechworth, beechworth town hall, town hall, jj coe, thomas dalziel, granite, beechworth historic building, courthouse, cells, geoge jobbins, thomas sandham, 1859, 1889, walking tours, beechworth historic precinct, historic precinct, harry power, bushranger, australian bushrangers, van dieman's land, transportation, armed robberies

This mincer was donated to the Slab Hut (Visitor Information Centre) as a display item.This domestic kitchen appliance is typical of the period when food processing was done at home. It would have been before the time of mass food processing factories.A cast iron food mincer with a wooden handle. It has a funnel shaped cup at the top through which the pieces of meat are pushed to come out of the side. The wooden handle is turned to help this action. It has one blade. The mincer clamps to a flat surface by a hand operated vice/screw. MODEL No 2food-preparation mincer appliance kitchen domestic

There is no known information about the species of snake that this skin belongs to. However, generally speaking, Australia has over two hundred known species of snakes. They are elongated, legless and carnivorous reptiles with scaly, textured skin. Snakes are especially important in Aboriginal dreaming, representing one of the great and powerful forces of nature and spirit. In the Rainbow Serpent Dreamtime story, they are considered the great life giver and protector of water, which is their spiritual home. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.Caramel coloured long snake skin curled around in an oval shape.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, snake skin, snake, reptile

Diamond Doves reside in Oceania and Northern America. They are often seen gathering in small groups and foraging on the ground near a source of water. Diamond Doves are granivores. Their diet includes seeds of herbs and grasses. The sound made by the dove is a slow "coo" often repeated twice. These birds are renowned for their ability to find their way home over large distances which has resulted in the use of these birds as messengers throughout history. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum and the National Museum of Victoria, as well as individuals such amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The Diamond Dove is a small pigeon with red rings around their eyes. It stands on a wooden perch with an identification tag tied around one leg. The upper part of the body is a brown grey and the belly of the dove is a cream colour. This bird has distinctive white spots on the wings. This particular specimen is a grey coloured Diamond Dove. Other colourings for this species are white, brown, yellow, red, cinnamon and pied.2b Little Turtle Dove. See Catalogue, page 30.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, dove, little turtle dove, diamond dove

Guyetts and Sons is a family business that began providing funeral services in Warrnambool and South West Victoria in 1905. Today in 2019 the business is still in operation as Guyetts Funerals Warrnambool. This wooden coffin was used as a display model in the 1920s at Guyetts. Its simple six-sided design was an economical choice as it used less wood than the box-shaped coffins. This coffin is an example of coffin design in the 1920s in Warrnambool and South West Victoria. It is historically significant, representing a local business that began in the first decade of the 1900s and is still in operation today.Coffin made of polished wood with pressed, silver coloured metal decorations on top and along sides in several designs. Its shape is similar to the human body; wide at the shoulders and narrow at the feet. It has a six-sided base and a completely removable lid. The coffin was used as a display coffin by Guyett and Sons, funeral directors of Warrnambool, from the 1920s.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, coffin, display coffin, guyett funeral directors warrnambool, warrnambool 1920s, warrnambool 1905 business, funeral item, funeral service, funeral director warrnambool, funeral home, funeral arrangements, burial service, cemetery funeral, death, herse, cemetery supplies, funeral director supplies, mortuary equipment

Until late 1925, all record players reproduced sound by purely mechanical means and relied on a so-called "amplifying" horn to efficiently couple the vibrations of the stylus and diaphragm to the space occupied by the listeners. In 1906, the Victor Talking Machine Company, Columbia's arch competitor, introduced a line of models in which the horn and other hardware were concealed within a cabinet, made to look like fine furniture rather than a mechanical device. They named the new style a "Victrola". It quickly proved to be very popular and successful. Other makers, adopting the distinctive suffix, introduced their own "-ola" internal horn machines, such as Edison's Amberolas and Columbia's Grafonolas. They were soon outselling the external horn models. At first, like nearly all other early record players, all Grafonolas were driven by a spring motor that the user had to wind up with a crank before playing a record. In 1915, Columbia began to introduce electric-motor-driven models, as a majority of urban areas had been wired to electrical grids. The electrified Grafonolas supported both alternating and direct currents from 110 to 220 volts. Electrified Grafonolas never gained the popularity enjoyed by the spring motor-driven versions due to substantially higher prices and a lack of electrical service in rural areas. Grafonolas were manufactured under the 1886 United States Letters Patent No. 341,214 which Columbia Graphophone company acquired through its predecessor American Graphophone Company. Two models were available; a portable table model and bigger stationary floor model, offering limited mobility through the application of casters. The most notable table models included Grafonola Favorite introduced in 1911 and Grafonola Savoy introduced in 1915. The most notable floor models included Grafonola Symphony Grand introduced in 1907, Grafonola Regent introduced in 1909, Columbia Mignon introduced in 1910, Grafonola Princess introduced in 1911, Columbia Colonial introduced in 1913. Various period Grafonolas were introduced in 1917 to cater to an increasingly prosperous clientele. Columbia Phonograph Company began to manufacture a series of ornate, limited edition period machines. These were highly priced (some as high as US$2,100 ) special orders that provided consumers with options to choose styles which matched their interior décor. Although the Gramophone does not have a large monetary value, it is of social significance as it demonstrates the progress made in audio reproduction from the first Edison cylinder machines to improvements that allowed ordinary people to be able to buy music discs and enjoy music in their own homes. Gramophone with internal horn, floor model, mechanically operated by a crank handle. Colombian Grafonola Princess (Type F2) brand. Gramophone is in a wooden display cabinet with room for record storage underneath and is complete with handle. Manufactured in 1911 by Columbia, USA."Columbia Grafonola Type 2 Made in USA"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, record player, gramophone, mechanical gramophone, floor model gramophone, gramophone record, columbia graphophone company, american graphophone company, columbia, grafonola, grafonola princess, music, playing music, audio reproduction, sound equipment, domestic entertainment, 1911 gramophone