Showing 382 items matching hue
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Mission to Seafarers Victoria
Book - Autobiography, Agnes (Nessie) Cleverley, Nessie's Story, 1989
Agnes Cleverley writes about her life with her parents in China where they settle as missionaries.Small book with chinese temple photograph tinted in orange hue.non-fictionAgnes Cleverley writes about her life with her parents in China where they settle as missionaries.reverend kerr johnston, 1812-1887, agnes cleverley, mary danne -
National Vietnam Veterans Museum (NVVM)
Map
January 30-31 1968. Laminated coloured map of South Vietnam headed "The Tet Offensive". Three flags at the top. North Vietnam Army - Red over blue with yellow star in the middle. American stars & stripes flag. SVA Unit - orange base with purple horizontal stripes through the middle. Reverse is a map of Citadel & Imperial Palace of Peace.The battle for Hue, South Vietnam. January 31 - Feb 21, 1968.tet offensive (1968), north vietnam flag, united states flag, south vietnam flag -
Orbost & District Historical Society
Book - "Between the Dances, World War 2 Women Tell Their Stories", by Jacqueline Dinan, Jacqueline Dinan, author
Stories told by women who served in World War 2. historical research of women in World War 2Cover has a brown/pink hue with photos of aeroplanes, cars and sheds, and a man and woman dancing. inside the cover: "To the Orbost Historical society. Best wishes, Jacqueline" women, world war 2, jacqueline dinan -
Southern Sherbrooke Historical Society Inc.
Photograph - Photo-colour- dam and tractor
Colour photograph of a tractor sitting near the dam at Narre Warren orchard. Green fields sit around the bank of the dam, with the water a brownish hue. -
Beechworth RSL Sub-Branch
Award - Medallion
Medalian presented to Pte Terry CrossmanPresented to Pte Terry Crossman of BeechworthSmall round metal medallion featuring an image of the Rising Sun and text engravings. Displayed in a small lacquered square box in a mahogany hue on a green felt inlay. Awarded to Terry Crossman.Front - Embossed: The Australia Army / Interior - Embossed: I'm proud to share traditions built on the foundation of the Anzac legend / I'm proud to build on the heritage of service mateship and sacrifice of previous generations / I'm proud to serve the Australian people by securing their future / I'm proud to secure peace and safety for the people of other countries when they need help. Front of Medallion - Engraved around the edge: Courage / initiative / teamwork / I'm an Australian Solider / engraved - Terry Crossman / The Australian Army / Reverse - Engraved around the edge: Mentally Prepared every solider physically tough / A leader / an expert on close combat / In the body australian army solider's medallion, medallion -
Flagstaff Hill Maritime Museum and Village
Container - Pill bottle, Circa 1878
This small pill bottle has been handmade by a glass blower. The battles and seamless concave sides and base show that the glass was blown into a shaped mould. The rough lip shows that the glass was snapped off at the mouth and roughly ground. This was an inexpensive way to produce a bottle. The bottle was recovered from the Loch Ard, wrecked in 1878. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line ships that sailed from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. 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 her family in the tragedy. The glass pill bottle is associated with the shipwreck of the Loch Ard and of significance for Victoria as the wreck is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard of which the pill bottle is one. Its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck of which the subject item is a small part. The collections objects give us a snapshot of how 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 social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.Small clear green-hue glass pill bottle, rectangular in shape and chipped lip. Sides and base are seamless and concave and varying thickness. Glass has bubbles and imperfections. A sticker is attached. Recovered from the wreck of the Loch Ard, flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, loch ard, 1878 shipwreck, handblown bottle, pill bottle, small bottle, medicine bottle -
Nillumbik Shire Council
Painting: Walter WITHERS (b.1854 Warwickshire, UK — d.1914 Eltham, Aus), Trestle Bridge, Eltham, c.1903-10
Walter Withers was a significant Australian landscape artist and a member of the Heidelberg School of Australian Impressionists. In 1903 Withers bought 'Southernwood', a house on 2½ acres (1 ha) at Eltham, to which he added a studio. Because of ill health, he lived during the week at his studio in Oxford Chambers, Melbourne, and on weekends and holidays with his family at Eltham until his death in 1914. The Eltham rail bridge is a unique and valuable historic relic of an earlier steam locomotive transport era in the Diamond Creek Valley and has long formed an important part of a magnificent Eltham landscape. When built in 1902 it was close to the terminus point of the Heidelberg-Eltham rail extension, on the route of the proposed Diamond Valley Railway that was then planned to continue much further up the valley towards Kinglake. This bridge is situated in attractive river-valley parkland amidst the tall and spreading manna gums and candlebarks of the Diamond Creek Valley. The Alistair Knox Park river-valley landscape, of which the timber trestle bridge is an important visual component, has been classified by the National Trust. Large manna gum and candlebark trees adorn the adjacent creek banks, and historic Shillinglaw Cottage is also part of this much-prized Eltham landscape. Eltham is home to a historic wooden railway trestle bridge. Mainly of timber-pier and timber-beam construction, but varied by a few longer steel-joists spans on timber piers at the main stream channel, this substantial bridge has almost two hundred metres of timber deck. Built in 1902, it is the only railway bridge of predominantly timber construction that is still in regular use as an integral part of Melbourne's metropolitan electric railway network and one of extremely few timber rail bridges in the State that still carry trains. Apart from its important continuing social function as a carrier of rail transport for the Hurstbridge line, this impressive bridge and its beautiful parkland environs contribute much to the character of Eltham township and that town's special reputation as an historic centre of environmental and conservation concerns. This section of the Diamond Creek Valley was the subject of a Walter Withers painting in the earliest years of the twentieth century and has strong historic links with our Heidelberg School of painters. Watercolour painting on paper of Eltham's Trestle Bridge in the middle of the day. A small section of the wooden bridge is located to the left of the painting. The focus is predominately on the wattle, manna gum and candlebark trees that is to the right of the bridge. The golden hues typically represent the australian sunlight and landscape. "W.W" in gothic script on the lower right side of the painting. Not dated. withers, eltham, trestle bridge, railway, watercolour -
Bendigo Historical Society Inc.
Education kit - Norman Penrose collection: colour palette and table
A colour palette used in art classes and a table describing the effects of combined two or three different hues. Used by Norman Penrose in his teaching carrier. Norman Penrose was born in Bendigo in 1903, studied at the Bendigo school of mines. He was a painter and teacher.art, teaching aid, colours -
Bendigo Military Museum
Document - LOG BOOK, FLYING, RAAF, 1942
DICKINSON R.L.S. RAAF 439212.This is a hard cover book. The colour of the front cover is a purplish hue. The spine has a blue buckram binding. It was Airforce Form A.18. Inside are a large number of pages covering such subjects as; Pilot Certification, Aircraft flown, Hours, Locations. Dates - range from 1944-2017. I suspect some pages are missing. 1912 - 1944. It has records for RAAF Flying and Civilian Flying Post WW2.Written on bottom of book pages is name "DICKINSON R.L.S.raaf, flying log -
The Beechworth Burke Museum
Animal specimen - Long-Eared Owl, Trustees of the Australian Museum, 1860- 1880
The Long-eared owl is one of the most widely distributed and most numerous owl species in the world. It is a rather slim and long-winged bird with usually prominent erectile ear tufts, which are positioned closer to the center of the head than in many other types of owl. Long-eared owls prefer open landscapes with groups of trees, hedges or small woods, as well as pastureland with rows of trees and bushes, any type of forest with clearings, forest edges, semi-open taiga forest, swampy areas and bogs, orchards with old fruit trees, parks, even gardens and timbered areas in villages, towns or cities. In many parts of the world, Long-eared owls have even adapted to deserts, though more commonly semi-desert, and may nest and roost in available oases and hunt prey over the open desert ground. This particular specimen has been mounted in a correctly stylised fashion. 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.This Long-Eared Owl is a rather slim, long-winged bird with prominent erectile ear tufts. The coloration of this Long-eared Owl is a hue of ochraceous-tawny with a brownish wash. The wings, back and chest are patterned and the facial disc is visibly well developed and light brown in colour. The ear tufts are dusky in front and darter tawny on the back. This Long-eared owl possesses a light-coloured bill and its eyes are yellowish-orange. The specimen stands upon a wooden platform. Swing tag: 33 / Virginian / Bee-boo Owl / Catalogue, page 52 / Other tag: No 19 / STRIX Virginian / N. America / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, owl, long-eared owl -
City of Ballarat
Public Artwork, Eternal Flame by Peter Blizzard, 1995
Eternal Flame was created by Ballarat sculptor Peter Blizzard as a marker of the end of WWII in the Pacific. Engraved into the bluestone shaped tile across the base of the statue is details about conflict areas where Australian Troops were active. The metal structure mimics a moving flame with it's polished golden hue, a feature included in many war memorials around the world. Peter Blizzard also designed the Prisoner of War Memorial in the South Gardens, Ballarat Botanic Gardens. The metal structure mimics the moving flame of polished golden hue that is present in war memorials around the world. Eternal flame is aesthetically and historically significant to the people of BallaratMetal construction on bluestone tile baseConflict areas for Australian Troops are engraved into bluestone shaped tile across the base of the statue. eternal flame, world war ii, conflict, peter blizzard, australian sculpture -
National Vietnam Veterans Museum (NVVM)
Photograph, Hit By VC Sniper
A black and white photograph of - On the edge of the 'Iron Triangle' in War Zone D North West of Bien Hoa, South Vietnam, a 1 RAR digger hit by a VietCong Sniper is treated by Battalion Dr Maj Mike Naughton prior to being Casevaced by an American Dustoff helicopter. (1966)photograph, 1 rar, hue, iron triangle, bien hoa, maj mike naughton, gibbons collection catalogue, viet cong, wounded serviceman -
Beechworth RSL Sub-Branch
Lighter cigarette, 1960s
Donated by Cliff Marshall the brother of Clyde Marshal who was a RAAF Medical Orderly and served with 2 Squadron in Vietnam from 1967 to 1968.Australian servicemen on duty in Vietnam who smoked generally had Zippo Lighters. It was a smoking accessory that was widely known worldwide and made popular in Australia by returning veterans. Rectangular stainless steel liquid fuel cigarette lighter with flip up lid.Internally a pull out receptacle that contains cotton absorbent wad to soak up the liquid fuel, flint tube and wick. The exposed top half has the flint striker roller, exposed wick, flame shield and locking toggle.On flip up lid “CLYDE / MARSHALL” on reverse VIETNAM /67-68; on case [RAAF MEDICAL INSIGNIA]. On reverse side “map of South Vietnam and North Vietnam showing names of towns, Danang, Hue Quihon Nhatrang Camranh Phanrang, Saigon Hanoi, Haiphong, Haiman, and South Vietnam flag. The base in inscribed with manufacturers name and patent number "BRANDFORD PA/ZIPPO/PAT.2517191"zippo, cigarette lighter, smoking accessories -
Bendigo Military Museum
Souvenir - JACKET, Handmade in Vietnam, c1969
For Donation details - See Cat No. 1664.2 Owner Wes BERTUCH.Jacket - bespoke handmade, in black cotton fabric exterior and white silk fabric lining. With collar, long sleeves, cuffs with black plastic buttons, inset pockets and elasticised area on waist band. Front zipper closure. Handstitched decoration on front, top of sleeves and back of jacket. Front - left side, yellow cotton? Vietnamese writing, Right side - yellow, orange, white and brown cotton - face of a tiger. Top of sleeves - left and right - orange and white cotton - dragons. Back of jacket - blue, orange, green and yellow map of Vietnam, Laos and Cambodia.On Jacket back - handstitched in yellow cotton "WHEN I DIE I'LL GO TO HEAVEN/ BECAUSE/ I'VE SPENT MY TIME IN HELL/ VIET & NAM/ 68 69". On and beside map - hand stitched in white cotton "LOVIS/ HANOI/ THAILAND HUE/ DA-NANG/ QLV-NI-ION/ BANGKOK NHA- TRANG/CAM-RANH/PHAN THIET/ BIEN HOA/ . On map - yellow cotton "CAMBODIA/SAIGON"souvenir, vietnam, clothing -
Geoffrey Kaye Museum of Anaesthetic History
Weapon - Blow pipe, Mah Meri, c. 1936
Used by the Mah Meri people, Kuala Langat, Selangor (Malaysia), 1936. While Malaysian, this blow-gun is analogous to that used by Indigenous groups from South America with curare. The gun is of bamboo, with a highly polished inner tube of the same. The darts are reeds, made directional by knobs of a tudor wood, with poison made from the ipoh tree and the Strychnos vine The blowpipe examined in this report consists of a long bamboo tube with engraved floral motifs on the outside and a second bamboo tube inside. The mouthpiece is attached to the inner tube and the whole piece can be removed from the outer casing. There is a quiver, filled with darts, a small poisons receptacle, and a single dart and hollow bamboo tube, stored outside the quiver. The objects were donated as a whole to the museum in 1948 by Dr Thomas Edward Marshall. The engravings on the outer case originate from the Mah Meri community in Kuala Langat, Selangor, Malaysia. The floral ‘motif is of a vine with small incisions to reflect the properties/identity of the plant (poisonous/harmful)’. These motifs are generally handed down through the generations and can be used for kinship identification. They are also believed to enhance the performance of the blowpipe. The outer casing is made up of several pieces of bamboo fused together. Broken or damaged blowpipes were not discarded. Broken sections of a pipe could be removed and replaced as required, and the observably different bamboo sections suggest this has taken place at some point. Sap from the perah tree is used to seal or glue the pieces together and the glue is reversible by heating. The Mah Meri created a poison from the ipoh tree for use in hunting. The poison acted swiftly to kill the animal and did not result in secondary poisoning. The way in which the Mah Meri hunted is analogous with other blowpipe hunting practices elsewhere in the world. Blowpipe hunting practices represent a starting point for the introduction of standardised muscle relaxants into surgery during the 20th Century. In parts of South America, plant poisons were used to tip the darts and kill prey. These poisons are known as curare. The crucial ingredient in curare was Chondrodendron tomentosum root. Raw curare formed the basis for Intocostrin, the first standardised, mass produced muscle relaxant. The introduction of muscle relaxants dramatically changed surgery, allowing for more precise surgery and better patient outcomes. Bamboo blowpipes can be found in many museum and heritage collections, particularly those with strong colonial origins or influence. Blowpipes from Borneo seem to be well represented, along with those from Guyana. Blowpipes from Malaysia appear to be less common. More research is required to establish the rarity or representativeness of the blowpipe. Ownership of the blowpipe can be traced back from the museum to Dr Thomas Marshall. It has also been established the blowpipe’s point of origin is among the Mah Meri people of Kuala Langat, near Kuala Lumpur. There is no information regarding the way in which Marshall came into possession of the blowpipe. Provenance cannot be fully established. Despite these difficulties, the blowpipe represents a full set of hunting implements. It is accompanied by a quiver, also decorated with a floral motif, a set of bamboo darts, and a poison receptacle. The quiver also has a waist strap which enabled the owner to strap it to themselves, preventing its loss while hunting. Each object within the set is in good condition, although the inner tubing is beginning to split lengthwise and should not be removed from its outer casing. While the blowpipe and accompanying objects are not of South American origin, the techniques and poisons used are analogous and this object has high interpretative capacity. Hollow bamboo blowpipe with mouthpiece at one end. Two different types of organic fibre have been used at difference points along the shaft to secure different segments of the blowpipe. The item consists of two tubes a thin and unpolished inner tube that has degraded and can no longer be removed, and a polished and decorated outer casing. The outer casing is made up of different sections of polished bamboo, some pieces have developed a deep red hue which is likely the result of prolonged polishing and regular heating over many years, other sections are a lighter yellow indicating that they are newer pieces of bamboo. The entire outer tube is covered in a varied sequence of genomic patterns. The exact meaning of these patterns is unknown however they are passed down through family lineage, the exact family of origin is unknown. Connected to the mouthpiece if it is removed from the inner casing is a piece of cloth with the numbers 2241 written in black ink, their purpose is unknown.curare, malaysia, bamboo -
Ringwood and District Historical Society
Photograph, Ringwood State School - Grade 6, 1981
Black and white photograph - Grade 6, 1981."Attached to photograph" Back Row- L to R: Dale Franklin, Nigel Mason, Hue Quin, Roger Graham, David Postlethwaite, Mathew Jobling, Nick Grey, Robert McDougall, Craig (?). 2nd Row- L to R: Kerryn Hopgood, ?, Karen (?), Rachel McEwan, Lexie Jenkinson, Leslie Gallager, Nicole Mathieson, Sari Beattie, Julie Rigg. 3rd Row- L to R: Steven Davis, Johnnie Tomado, Robbie (?), James Edith, Simon Ignatious, Mark Yost, George Dallas, ?. Front Row- L to R: Ellen Hodgeson, Karen Evans, Anthoula (?), Lori Mays, Jenny Murray, Katrina de Jersey, Tania Alhouse, Olga Houritid, Tracey Williams. Teacher: Steven Gough -
The Beechworth Burke Museum
Geological specimen - Tourmaline in Quartz, Unknown
Tourmaline specimens are members of a crystalline silicate mineral group based on boron but influenced by elements including aluminium, iron, magnesium, sodium, lithium, or potassium. Specimens present a wide variety of colours and forms according to the specific mix of these elements. Tourmalines are semi-precious gemstones with many applications, including commercial jewellery production. The word 'tourmaline' derives from the Sinhalese term for the carnelian or red-shaded specimens, "tōramalli". This specimen has been classified by geologists as 'Black Schoalou/Tourmaline in quartz'. Schoalou may equate to a common black-hued type of Tourmaline associated since around 1400 with mines in Saxony, Germany near a village called Schorl (today's Zchorlau). If this specimen is part of the 'Schorl' species of tourmaline it is a member of the most common group of Tourmalines, a divalent sodium ion influenced group accounting for 95% of specimens. On assessment, it was noted that the crossed lines (XIs) of this tourmaline have been fractured and rehealed by the quartz matrix in which the tourmaline rests. This item is significant as an example of its type of gemstone and the geological processes leading to its formation. A solid medium-sized piece of Black Schoalou/Tourmaline in a cream and peach coloured quartz matrix. Existing label: Black Schoalou / Tourmaline in / quartz. / Tourmalines XIs have / been fractured and / rehealed with / quartz / C. Willman / 15/4/21 /geological specimen, geology, geology collection, burke museum, beechworth, indigo shire, north-east victoria, tourmaline, quartz, boron, crystals, minerals, gemstones, semi-precious, black schoalou, zchorlau, schorl -
Surrey Hills Historical Society Collection
Photograph, 3 Beatty Street, Mont Albert
Location is now 3 Beatty Street, Mont Albert although electoral entries for the Lodewyckx family in the 1930s give the address as 1 Beatty Street. This address is a more contemporary house and part of the original garden was subdivided off at some stage. The property's original address was 1 Victoria Street, renamed in 1917. The house was built c 1891 and from then until 1905 it was home to Leopold A Carter (dentist of Collins Street); followed by James J Hempill (broker) from 1905 -1907. he called it 'Manchling'. There were several other owners or tenants before the Lodewyckx family moved into it in 1920. They named the property 'Huize Eikenbosch' (Dutch meaning House of Oaks). It was set in 1/3 hectare with a formal garden, vegetable garden, orchard and chicken run. Augustin had a life-long interest in growing vegetables and planted many European trees, especially oaks. Augustin Lodewyckx was born and educated in Belgium, was appointed Professor of Modern Languages at Stellenbosch, South Africa and later joined the Belgium Colonial Service. In 1915 he commenced as lecturer in German at Melbourne, becoming Associate Professor in 1923. He had married Anna Sophia Hansen* in South Africa in 1910. They had 2 children Karel Axel, librarian of the University of Melbourne, and daughter Hilma Dymphna, translator, editor and wife of Manning Clark, historian. In 1942 Augustin introduced a university course in Dutch and also undertook research into German immigration to Australia. He retired in 1946 and died in 1964. (*Thought to be nick-named Mina.) A black and white photograph of a corner of a house with a large palm tree in front. There is decorative wooden balustrading on the verandah.beatty street, mont albert, mina lodewyckx (mrs), augustin lodewyckx (mr), karel axel lodewyckx (mr), axel lodewyckx (mr), anna sophia lodewyckx (mrs), hilma dymphna lodewyckx (miss), dymphna lodewyckx (miss), hilma dymphna clark (mrs), dymphna clark (mrs), architectural features -
The Beechworth Burke Museum
Animal specimen - Barn Owl, Trustees of the Australian Museum, 16-1880
Barn Owls are the most widely distributed owl species in the world and one of the most widespread of all bird species, including in Australia. Barn Owls are sedentary and prefer open habitats such as grasslands, farmlands, and open woodlands, where they forage and hunt small mammals, particularly rodents, at night. Barn Owls nest in deep hollows in old trees, especially eucalypts, but also in caves, rock cavities, and sometimes cavities in buildings. Barn Owl's have a highly distinctive white heart-shaped face and pale underbelly feathers. They can be seen circling low above grassland areas at dusk or at night, and their drawn-out shrieking, hissing, and 'eerie' rasping sounds have led some rural populations to consider they have magical powers. Barn Owls vary in size but average 330-390mm in length, with wing spans between 800-950mm. Females are larger than males and most are a mix of white, pale brown and shades of grey speckled with fine black tear-shaped spots. They have a distinctive flat heart-shaped facial mask with oversized oblique black eye-slits and black irises. A ridge of feathers sits above the beak resembling a long nose. The feet vary in colour from pink to grey, and beaks can be pale to dark buff, corresponding to general plumage hue. 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.This Barn Owl is medium sized with long wings and a short squarish tail. Its underbelly is pale and speckled with dark spots. The wings and tail feathers are light brown, grey and white with small, dark, tear-shaped speckles on the upper parts. It has a distinctive white heart-shaped facial disc with large black eyes and curved beak. This specimen stands on a wooden perch pedestal and it has metal and paper identification tags attached to its legs. Swing tag: 36. / Barn [torn] / Catalogue [torn] / Metal tag: 4058 /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, owls, birds of prey, tyto alba, heart-shaped faced owl, nocturnal birds, predator birds, 'harbingers of misfortune', demon owl, ghost owl, death owl, magical animals, lich owl, birds as omens, barn owl, carnivore, hissing owl -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, circa 1878
This sugar 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 sugarspoon 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 generally common range of 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. 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. 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 sugar 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 a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of surface area is covered with sediment (collar and stem) and 30% of original plate remains. The outlines of five makers marks are visible - Crown, Small circle, Rounded square, Circle, Diamond - but details are obscured.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 -
Flagstaff Hill Maritime Museum and Village
Spoon, circa 1878
This sugar 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 sugarspoon 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 generally common range of 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. 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. 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 sugar 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 a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Concretion on bowl and collar.Some 25% verdigris on spoon. Handle corroded and bent slightly. Perished rubber band attached. One of five makers marks on lower rear of spoon handle is legible - (2) Plain cross mounted on inverted triangle (religious motif).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, electroplated cutlery, nickel silver, william page and co, birmingham brass plating, makers marks -
Eltham District Historical Society Inc
Photograph - Digital Photograph, Jim Connor, River Bend House, 130 Laughing Waters Road, Eltham, 7 September 2013
Laughing Waters Walk, 7 Sep 2013 This Society excursion was a follow up to the Laughing Waters Story told to us by Jane Woollard at our Annual General Meeting in March 2013. It involved a walk commencing from the corner of Laughing Waters and Overbank Roads along Laughing Waters Road to its eastern end and returning partly over the same route - a total distance of about 2.5km. On the way we visited the two artist in residence properties, River Bend and Birrarung, to view the houses on them that are associated with Alistair Knox, Gordon Ford and others in the local mud brick and artistic community. We also able to walk around the derelict ruin which was once home to Gordon and Sue Ford, Boomerang House. An unexpected afternoon tea was offered to us by the artists in residence at Birrarung House and we had a brief opportunity to view inside the house. River Bend was designed and built by Alistair Knox for Rosemary and Bill Cuming in 1968. It sits in a deep cutting on a steep slope above the Yarra River and features floor to ceiling windows and glass doors set into mission brown timber frames and walls of reclaimed bricks in pinkish hue. Rosemary laid the brick paving around the house, a copy of the shell paving found in the ancient French town of Colmar, where the family had lived for a period. The kitchen was equipped with a 1960s stove as well as a cast iron wood stove reclaimed from Rosemary's sister's home in Armadale. Max and Tini Huygens, migrants from Holland, purchased the property in 1975 and named it Tilwinda from an Aboriginal word meaning 'hole in a rock'. In late 1981 Tini died after a short illness, but Max continued to live at Tilwinda until he moved to a retirement village in 2000 and the property was sold to Parks Victoria. Renamed River Bend, the property became part of the Laughing Waters Artist in Residency Program in 2008. Nillumbik Shire Council upgraded the property in 2012 with solar panels, a heat pump for hot water and double glazing to improve the comfort of the artists in residence and make the house more energy efficient. For a more in-depth description of the property and biographies of the various artists in residence commencing from 2008 to 2015, see Jane Woollard's book, "Laughing Waters Road; Art, Landscape & Memory in Eltham" published 2016.2013-09-07, activities, artists in residence, eltham district historical society, heritage excursion, jim connor collection, laughing waters road, river bend house -
Flagstaff Hill Maritime Museum and Village
Spoon, circa 1878
This dessert 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 dessert spoon 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 generally common range of 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. 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. 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 dessert 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 a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bent stem and buckled bowl. Only 5% of original plate remains and base metal exhibits cu, fe, zi, oxidisation in bright spots. Some verdigris and an amount of encrustation on front and back of the spoon. Outlines of five makers marks are visible - Crown, Elipse, Rounded square, Circle, Diamond.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, spoon -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, circa 1878
This table 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 table spoon 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 generally common range of 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. 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. 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 table 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 a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 40% of original plate remains. Some verdigris and concretion on front of spoon. Balance covered in Silver Oxide. Outlines of five makers marks are visible - Crown, Ellipse, Rounded Square, Circle, Diamond - but details are illegible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, table spoon, spoon -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, c.1878
This sugar 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 sugarspoon 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 generally common range 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. 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. 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 sugar 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 a rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. 10% of surface area is encrusted sediment and 10% displays aqua-marine coloured oxidation. Five impressions are visible on back of handle but only discernible makers mark is (4) fleur de lys. flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co., birmingham brass plating, makers marks -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, circa 1878
This sugar 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 sugarspoon 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 generally common range 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. 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. 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 sugar 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 a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. The stem is bent and the bowl is cracked and corroded. Approximately 40% of the original plate remains. No makers marks are legible.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 -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, circa 1878
This sugar 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 sugarspoon 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 generally common range of 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. 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. 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 sugar 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 a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Approximately 15% of original plate remains, with 10% verdigris, and 10% sedimentary concretion on top of handle. No makers marks are visible.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, electroplated cutlery, nickel silver, william page & co, birmingham brass plating, makers marks -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, c.1878
This sugar 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 sugarspoon 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 generally common range of 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. 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. 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 sugar 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 a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl covered with sediment and edges are cracked. Handle is corroded. No makers marks are visible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page & co, birmingham brass plating, makers marks -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, c.1878
This sugar 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 sugarspoon 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 generally common range of 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. 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. 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 sugar 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 a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Bowl is bent and handle is corroded. Approximately 15% of original plate remains. No makers marks are visible.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, nickel silver, william page and co, birmingham brass plating, makers marks -
Flagstaff Hill Maritime Museum and Village
Domestic object - Spoon, circa 1878
This medium-sized dessert 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 dessert spoon 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 generally common range of 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. 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. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417.Unrestored dessert 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 a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. 50% original plate, 20% concretion, and 15% verdigris. There is a plain heraldic shield embossed on upper rear of spoon bowl (ratstail). Spoon is slightly bent.flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, dessert spoons