Brougham Street Bridge Roy Johnson 1988 Entrant No. 74 Ref: Series 34, Items 93-96 SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, brougham street bridge, film - ilford fp4, roy johnson, scan - 35mm negative

Brougham Street Bridge Stephanie Johnson 1988 Entrant No. 128 Ref: Series 34, Items 99, 100 The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. The photographer noted that in a sad indictment of the local community, this German Shepherd dog and another had been abandoned by their owners to scavenge through the bins and chase the drunks around the lake at dawn. Both dogs were impounded and the owners never claimed them. As a consequence they were eventually both put down. SHIRE OF ELTHAM COMMUNITY PHOTOGRAPHIC SURVEY Photography is an artform which many of us practice, sometimes purely for artistic pursuit, sometimes to record the people and events in our lives. In 1988, as part of a local Bicentennial project, the Shire of Eltham conducted the Eltham Community Photographic Survey. Up to 100 entries were to be selected by a panel of photographers for entry into the Eltham Photographic Survey Exhibition. Entries had to be submitted by May 13, 1988. Entrants whose images were selected for the exhibition were contacted and requested to further submit an entry form providing entrant’s name, area of residence, age, and proposed captions. These details were then used to produce labels for the exhibition mounts. Where negatives had not been supplied, these were requested to support the display of printed enlargements mounted on 10” x 8” cardboard. The mounted prints were made available post exhibition for sale at $8.50 each for colour prints and $7.00 for B&W prints. Residents in the Shire were invited to collect a free roll of film and take a photograph of what they either liked or did not like about the area. A total of 160 entrants submitted multiple entries for the exhibition. Of those selected for exhibition, entrants ranged in age from 9 to 70 years. All custom colour and black and white printing for the exhibition was completed by Wattle Studios of Eltham. The Eltham Photographic Survey was jointly auspiced by the Shire of Eltham and Wattle Studios, of 953 Main Road, Eltham. The project was greatly assisted by: • David McRitchie, Media Studies Lecturer Victoria College, Rusden Campus. • Ian and Annette Toohill of Wattle Studios • Tracy Naughton, Eltham Community Arts Officer • Neville Emerson Pty. Ltd. • Superior Press, Eltham • Kodak Australasia Pty. Ltd. • Agfa Gevaert Ltd. • Townsend Colourtech Pty. Ltd. • The Australian Bicentennial Authority • Eleanor Bowers, Secretary, Eltham Arts Council The exhibition was placed on display in the Woolworths Arcade, Eltham between Monday June 6th and Saturday June 11, 1988. It was also intended to hold the exhibition at a venue in the Shire’s North Riding from Monday, June 20 to Friday June 24. It was then displayed at the Were Street Theatre, Montmorency from Friday, June 24 to Thursday, July 7. Series 34: Eltham Community Photographic Survey 1988 - Prints & Documentation Series consists of 117 photographs of Shire scenes taken by members of the community. Items I - 41 are larger photographs mounted on card, which were exhibited. Items 42 - 117 are unmounted copies, alternative takes and other entries. Corresponding negatives contained in Series 35: Eltham Community Photographic Survey 1988 – Negatives which consists of 267 colour and B&W negatives and one colour slide of Shire scenes taken by members of the community. The negatives are arranged by the entrant number of the photographer. The Eltham Community Photographic Survey collection is significant to the local community as it was curated by the local community - ordinary people of all ages - representing what they liked and did not like in the area where they lived. It represents an unfiltered representation of the Shire of Eltham as it was in 1988. It also represents one of many projects as part of the national programme of events and celebrations to commemorate the bicentenary. It is a time capsule of life in the 1980s of this urban and rural municipality in Melbourne's north. Rear: Entrant No., name and address in blue ink; also 'Series 34' and the 'Item No.' in orange inkshire of eltham archives, bicentennial project, eltham, eltham community photographic survey, series 34, series 35, brougham street bridge, film - kodak ga 100 5095, scan - 35mm negative, stephanie johnson

Information about programs, services and facilities at Eltham Leisure Centre managed by the YMCA.Colour Pamphlet with photos and time tableeltham leisure centre, ymca

This is a photo of a very large group of people at the Langi Ghiran Picnic Grounds in 1904. The photo provides information about leisure wear and leisure activities in the Ararat area at this time. This photo is of local significance (Langi Ghiran and the Ararat district). Although the photo is physically damaged, the detail in most of the photo is still very clear, giving information on clothing and leisure activities. The fact that the date and the donor are known adds to its significance.Black and white photograph mounted on cardboard of a formal group of approximately 110 men, women and children gathered in a rural setting, standing and seated, with trees in the background. The photograph is torn away in several places"Picnic Grounds / Langi Gherin1904".clothing, leisure, 1904, picnic, leisure-activities, picnickers, photograph, langi morgala, ararat, langi ghiran

Books were published to guide walkers travelling long distances in remote areas increasing their safety and giving them independence.Bogong High Plains and Mt Bogong are at the upper end of the Kiewa Valley where local people and visitors spend their leisure time, walking.1. and 2. both written by John Siseman, small (pocket size), includes maps and black & white photos. The covers are colored photos with the title at the top. 1. has 78 pages and 2. has 63 pages.The Alpine Safety Manual (in yellow) is twice the size of the others and published by the Department of State Development, Decentralization and Tourism.It has 40 pages, coloured and black & white photos and is held by 2 staples.bush walking, bogong high plais, walhalla to mt bogong, alpine track

The Mt Beauty Drama Group held concerts/ pantomimes at the Mt Beauty Community Centre. It was a valuable social outlet for the members because at that time the only entertainment in Mount Beauty was the pictures on a Saturday night. It was also an alternative to playing sport for some. It was formed in 1958 and expanded to include 20 ladies and 8 men. It ceased in the 1970s. Ref. "Below Bogong - A History of Mount Beauty" Chapter 8, Pages 252-254.The Drama Club performed and entertained the Mt Beauty community during their leisure time during the 1950s and 1960s. It was an alternative to sport and was before tv was available. This activity is of historic and social significance and can be compared with activities of today especially as Mount Beauty was built as a construction town for the Kiewa Hydro Electric Scheme and is now a small town with the added influence of tourism. x6 Black and White Photos of groups of adults performing c 1950sOn the back in pencil of one photo - "AMcC Collection / Pantomime in MB Community Centre"mt beauty drama group

The Upper Kiewa Valley Calisthenics College was popular during the 1980s and 1990sCalisthenics was a source of exercising, socialising and competing during leisure time while living in the Kiewa Valley. This activity is of historic and social significance and can be compared with activities of today and in the past.Two pages with coloured photos refer to "The History of the UKV Calisthenics College"; x1 blue page advertising the 1983 Annual Display and x5 pages back to back re 1990 Concert including program and names of performers.ukv calisthenics, entertainment

During the construction of the Kiewa Hydro Electric Scheme the employees socialised by joining clubs such as the table tennis club.McKay Creek was the site of a power station where the employees lived in the camp while working there. Table tennis entertained them during their leisure time. This activity is of historic and social significance and can be compared with activities of today especially as Mt Beauty was built as a construction town for the Kiewa Hydro Electric Scheme and is now a small town with the added influence of tourism. McKay Creek was part of the construction with a work force living there.Large Black and white photo of the McKay Creek Table Tennis Club including 18 men and 1 boy.ID on the back and "AM Collection"mckay creek power station, table tennis club, kiewa hydro electric scheme

Personal fan of Asian origin used by early immigrant family living in Kiewa Valley and indicative of the mixed heritages within the Valley. Personal Fan of vintage circa 1920s suggests middle to upper socio-economic levelHistorically this item places certain ethnic group in the Kiewa Valley circa 1920's - 1950's. This personal fan indicates that it may have belonged to a middle class person with greater leisure time than that of a working class. The multicultural fabric of the region is also highlighted.Personal hand fan (slide out sideways open). Cardboard screen on wooden spine frame. Main side bright coloured green trees on golden red and royal blue background. Wispy silver lined clouds, black branches and brown earth with moss. Flip side gold speckled on white background Bamboo like sliversfan, personal fan, cooling, oriental, hand fan

This program was created for the Orbost Theatre group as a souvenir of the official opening held at the Mechanics Institute hall in Orbost. It was held on Thursday, 20th August , 1931.This item is associated with an event which reflects the interests and leisure activities in Orbost in the first half of the 20th century. It was retained as a souvenir / memento.A rectangular light blue card program with black print. It is a souvenir for the opening of the Orbost Theatre. There are details of the venue and time of the event.theatre-orbost program

There is no record of which family is in the photograph. The slips at Corringle was a popular picnic area for Orbost people. Corringle Slips is situated at the mouth of the Snowy River Estuary. The Corringle Slips were built by Samuel Richardson and sons during the time when the Orbost Shipping Company was operating. The Slips were washed away in the 1893 floods and reassembled by Martin Jorgensen who then became a part owner of the Slips. In the late 1890's, Corringle was a thriving rural community. (Information from Discovering Marlo brochure)This is a pictorial record of family life in Orbost in the first half of the 20th century. It portrays a typical Orbost family enjoying a leisure activity. The clothing can be seen as more formal than that worn at a family picnic in the present day,A black / white photograph of a group of people (adults and children) seated around a table set with a tablecloth on which are teacups, bottles of drink and cake. in the front is a bucket and two metal boxes. They are well-dressed with the men and boys wearing jackets and ties and some of the women wearing cloche style hats.on back - "Family at Slips"corringle-slips-marlo picnic-recreation

This ceramic lid is part of a child's tea set, perhaps from a sugar bowl or tea pot. It was recovered from the wreck of the Loch Ard. The Loch Ard got its name from "Loch Ard" a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made 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 29-year-old Captain Gibbs, who was newly married. The ship 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, as well as a heavier load of railway irons, cement, lead, and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the 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 and a lookout 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 towards land. 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 the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. 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 subsequently broke over the ship and the top deck became 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 Lochard 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 a passenger had raced onto the 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 the open case of brandy that 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 complete state of exhaustion, he told the men of the tragedy. Tom then 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 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 families in the 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 her family in the tragedy. Ten days after the Lochard 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 Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard Gorge. Cargo and artifacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. 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 artifact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artifacts from Loch Ard and its collection is significant for being one of the largest accumulation of artifacts from this notable Victorian shipwreck of which the subject items are a small part. The collection's 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.Toy; a white ceramic lid from a child's tea set. The underside is hollow. The lid is glazed and the surface of the lid is uneven under the glaze.flagstaff hill, warrnambool, flagstaff hill 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, toy, child's tea set, toy lid

The Loch Ard got its name from "Loch Ard" a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made 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 29-year-old Captain Gibbs, who was newly married. The ship 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, as well as a heavier load of railway irons, cement, lead, and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the 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 and a lookout 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 towards land. 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 the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. 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 subsequently broke over the ship and the top deck became 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 Lochard 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 a passenger had raced onto the 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 the open case of brandy that 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 complete state of exhaustion, he told the men of the tragedy. Tom then 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 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 families in the 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 her family in the tragedy. Ten days after the Lochard 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 Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard Gorge. Cargo and artifacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. 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 artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artifacts from Loch Ard and its collection is significant for being one of the largest accumulation of artifacts from this notable Victorian shipwreck of which the subject items are a small part. The collection's 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.Toy saucer, white glazed ceramic, slightly oval shape and uneven surface. The underside has a brown stain. part of a child's tea set. Inscription on Sticker underneath. Recovered from the wreck of the Loch Ard.Sticker "L/66"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, child's tea set, minature saucer, saucer, toy saucer

People in ancient civilisations smoked pipes during various healing and religious ceremonies. By the end of the 15th century, after tobacco was discovered in America, smoking had become a common pastime for everyday people. From that time, tobacco pipes were fashioned from many materials ranging from gold and silver to corn cobs and clay. A popular material was meerschaum, an expensive, soft, white stone from Turkey. In the 1820s, French craftsmen carved pipes out of the wood from the growth on the root of a Mediterranean White Heath. This material became increasingly popular due to its durable, heat-resistant qualities. The growth was called ‘bruyere’, now anglicised to ‘briar’ wood. Bakelite was the first plastic made from synthetic components. It was developed by Leo Baekeland of New York in 1907. The material was heat-resistant and could be moulded into any shape and hardened to keep its shape. This invention greatly impacted the industrial world and the products available to the domestic market, making more objects available at reduced cost.This smoker's tobacco pipe symbolises one of the leisure activities of the early 20th century that has continued into modern times. The shape and materials of the pipe represent a point in time in the evolution of tobacco pipes, including the revolutionary impact that the 1900s invention of Bakelite had on objects available in the domestic and industrial markets.Smoker's tobacco pipe; a round brown wooden pipe bowl joined to a dark brown mouthpiece. The French pipe's bowl is made from briar wood, and its mouthpiece is Bakelite. There is an inscription on the pipe."French Briar Pipe"warrnambool, shipwreck coast, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, smoker's pipe, tobacco pipe, briar wood pipe, wooden pipe, smoking, french pipe, bakelite, smoker's equipment

The lead toy gun was recovered from the wreck of the Loch Ard and could have been amongst the personal belongings of a passenger. History of the Loch Ard: The Loch Ard got its name from ”Loch Ard” a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made 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 29-year-old Captain Gibbs, who was newly married. The ship 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, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the 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 and a lookout 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 towards land. 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 the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. 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 subsequently broke over the ship and the top deck became 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 Lochard 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 a passenger had raced onto the 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 the 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 complete state of exhaustion, he told the men of the tragedy. Tom then 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 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 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 her family in the tragedy. Ten days after the Lochard 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 Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. 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 artifact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( 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 of which the subject items are 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.Toy gun, lead, barrel missing. Details have been moulded into the metal. The surface has heavy encrustation. flagstaff hill, warrnambool, flagstaff hill 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, toy gun, metal toy

Mirrabooka means Southern Cross. The Melbourne Movie Club was established for those interested in Moving Pictures and all its branches. 'A place to go to spend a few leisure hours, a select dance, parties, picnics, amusements, to learn the art of picture acting and make up, to take part in the Company's productions, dramatic art, to have a jolly good time, etc.' The Melbourne Movie Club has a spacious premises at 184 Exhibition Street, Melbourne, with a floor space of 10,000 square feet, where scenes and sets were erected for the use of Club Members. The Club had full moving picture producing equipment such as big light plant, stage effects, scenery, and cameras. The Melbourne Movie Club saw themselves ad the nursery and basis for a National Film Industry. .1) The secretary was Burnard W. Morey (AICA), the director was L. Morton, and the Managing director of Mirrabooka Films was James Weston. .2) The Managing Director was Louis Morton, the director was Ivan Morton, the Manager Robert Spencer and the organiser and Producer was W. Winford.Two booklets relating to the Melbourne Movie Club. .1) Eight page white booklet of the Melbourne Movie Club - The Mirrabooka Films Pty Ltd. The booklet discusses the place of film in Australia. .2) Eight page pink booklet of the Melbourne Movie Club.melbourne movie club, movie, theatre, james weston, mirrabooka, mirrabooka films, burnard morey

The London Stereoscopic and Photographic Company began in 1854 as the London Stereoscope Company (LSC), from 1856 was known as the London Stereoscopic Company, and from May 1859 as the London Stereoscopic and Photographic Company.This card is from the collection of a pioneer family of the City of Moorabbin.Stereograph Card manufactured by 'The London Stereoscopic Company' 54 Cheapside - black and whiteThe Falls of Montmorenci, near Qubec, Canada "These beautiful falls are eight miles distant from Quebec, on the Montmorenci river and situated at a point where the river is sixty feet wide. The descent of the torrent is 250 feet higher than those of Niagra, but only about fifty feet in width. The effect of the view of these falls upon the beholder is most delightful. The river at some distance seems suspended in the air, in a sheet of billowy foam. The water which first breaks over the ledge in on sheet is more and more divided as it plunges against the successive layers of rock, which it almost completely veils from view; the spray becomes very delicate and abundant, from top to bottom, hanging over, and revolving round the torrent, till it becomes lighter and more evanescent than the whitest fleecy clouds of summer." In the winter time the spray form the fall freezes in the form of a cone to a height of nearly 100 feet, and at such time the falls a greatly resorted to for the amusement of sliding down the cone with the tobogen, or Indian sleigh. The comparatively short distance from the city and the extreme beauty of the scenery along the whole route, render these falls an attractive scene for the inhabitants, who account a visit amongst their usual recreations.quebec, canada, the falls of montmorenci, moorabbin, stereograph cards

A brown spiral bound book titled 'Collector's Choice of Music for Old Time, New Vogue and Modern Ballroom Dances in Australia. Vol. 3.' Compiled by Peter Ellis. Includes over 300 tunes for 40 dances, with a section for Special Occasions and Novelties.Companion to 'Take Your Partners' by Shirley Andrews. Published by The Victorian Folk Music Club of Victoria Incorporated. Box 2025S, G.P.O., Melbourne, 3001. Printed by Ajax Printing & Duplicating Pty. Ltd. 23 Nevin Drive, Thomastown, 3074. 202 pgs. Ill., music, ph. Presentedto the Royal Historical Society of Victoria, Bendigo Branch, with kind regards from Peter Ellis 3/12/1988.entertainment, dance, bush dance, peter ellis, collection, dance, dancing, dances, music, old time dancing, new vogue dancing, modern ballroom dances, australian history, colonial dancing, bush dancing, bush dances, shirley andrews, recreation, leisure, book

Soft Stuffed baby doll with plastic head and hands.Dresses in pink with white bib and bottle in hand.toys, dolls, plastic, joy time. made in korea for george tauber imports melbourne australia.

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Playing card set - double pack of cards in original boxWith Complements "Onkaparinga"/Onkaparinga Blankets/Onkaparinga Robes of Distinctionblanket fever, onkaparinga, marketing

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Playing cards featuring Onkaparinga sales mottos and picturesOnkaparinga Pure Wool Blankets/Australia’s Best/Rugs, Blankets, Piece Goods, Men’s and Boy’s Clothing/Made from Pure Wool In White Pink Blue Green And Primrose/The Home Of The Famous Onkaparinga Pure Wool Products/White And Coloured Blankets Give Individuality And Charm/Made In Australiablanket fever, wool, playing cards, advertisements, onkaparinga

This style of doll was called a Golliwog at the time, the 1960s, when it was made by donor for her daughter's school (Melbourne Ladies College) projectBlack felt doll with black velvet hair, white cut out felt for eyes, white felt hands and white feet with black soles, white felt waistcoat, pearl buttons, red and white spotted bow-tie, red felt jacket with two brass buttons, black and white striped trousers, yellow boater hat decorated with black and white bandtoys, soft toys

Made by Ethol Reynolds, mother of Bruce Reynolds, in 1927. Bruce was a member of Whitehorse Historical Society. Pattern believed to have come from a woman's magazine pattern for 'Steamboat Willie', Disney's first Mickey Mouse cartoon. Photo of Bruce Reynolds taken in Dec 1927 was donated at same time as toy mouse. See: NP2935 Album 4ASoft toy depicting Mickey Mouse. Made from cotton fabric embroidered by hand with embroidery cotton in red, blue, black and brown.toys, soft toys

from the Till collectionTHE TILL COLLECTION SIGNIFICANCE STATEMENT|The significance of the Alwyn Till Collection is that Alwyn was born in Mitcham in 1921. He attended Mitcham Primary School and Box Hill Boys High School. He served his Community mainly through his activities within the Christ Church Anglican Church Mitcham. He joined the Royal Australian Airforce in World War II in September 1939. He trained as a Pilot in Australia and Canada, was posted to England and saw action in Europe. He was shot down over France and rescued by and then joined the French Resistance and while fighting with them was fatally shot. A Baron fighting with him wrote to his mother to inform her of his death.|Alwyn's parents were Evaleen Victoria Till (nee Maggs) and Sydney Norman Till who first lived in Creek Road Mitcham, before moving to 573 Whitehorse Road Mitcham. His father served in World War I where his eyesight was damaged and he was taught by the then Blind Institute in suitcase making of which we have two examples in this collection. He died in 1931. Alwyn took over responsibility for his mother and sister Alison. We can understand how devastated his mother and sister would have been at the news of Alwyn's feeling that he must serve his country in World War 11.|His letters home were so precious to them that they carefully kept all his correspondence, notices of death and condolences from friends. After Alison's death in 2007 her relation Joan Walker transcribed each of Alwyn's letters home into two bound volumes. The executors, Joan Walker and Anne Drew deposited the original letters with the Whitehorse Historical Society. Due to their significance as historical documents of one serviceman's complete correspondence with his family the Whitehorse Historical Society Committee after consultation with the donors deposited the original letters with the State Library of Victoria. The Whitehorse Historical Society retains the copies.|Alison and her mother kept many family memorabilia and personal items which make up this significant collection as they show how people lived, worked and served in the local community and municipality.|This collection represents the love and devotion of the women to their families during the course of two world wars. The father was disabled as a result of World War 1 and died an early death and a son who thereafter took on the responsibility as head of the family at an early age. This young handsome charismatic son served his community in peace time and gave his life in World War 11. This mother and sister were devoted to his memory.Pair of wooden dumbells with lead weights attached at each end.A.Tillrecreations, sports

The Mitcham Chess Club was established in 1970 and disbanded Dec-1976. The Nunawading Chess Club reformed from Mitcham Club Jan-1977 and disbanded permanently in 1998. It operated from The Avenue Neighbourhood House, Blackburn.Wooden rectangular box sitting on rectangular base. The box contains two timing windup clocks used to time chess games. Two starter knobs on top. Metal label on top marked 'Olympia'. Metal clock faces with yellow background with brass coloured numbers and hands. Each clock has a red arrow on top. Back has brass circles with wind up mechanism; left hand side has knob to adjust time but not right clock.'Olympia' and repaired 8/83 Mitcham Chess Clubhorology, clocks, toys, games

Donated by Mrs. Doris Mattingly, a long time Secretary of N.H.S. Doris played with the tea set as a child in her family home at Murtoa in the Wimmera, Victoria.Blue enamel child's tea set with white speckle. it consists of one teapot with lid, one sugar bowl with lid, one milk jug, six cups and five saucers.toys, general

10.00AM - Received call to prepare and proceed to S. S. Time aground on Corsair Rock with other members of salvage party. Took taxi home to pick up warm clothing and gear returning at once to Fleet Forge works. Arrangements made to board tug Eagle at 5 North Wharf at 1.30PM with diving gear and salvage pumps.Scale model of SS timess time, wrecks, port phillip, corsair rock, model ship

The SS ‘Edina’ is one of the most remembered vessels that plied the waters of Victoria’s Port Phillip Bay. Often referred to as the ‘Old Lady of Port Phillip’. Her active service included the North Sea trade, ‘Crimean War’, ‘American Civil War’, Victoria’s west coast run, New Zealand to Melbourne trade, Queensland coastal trade, and of course, the Port Phillip Bay runs between the years 1880 to 1938. ‘SS’ being an abbreviation for ‘Screw Steamer’ signifying that she was propelled by a steam engine rotating a single propeller, or ‘screw’ as it was know at the time.Model of a well known bay steamer operating in Port Phillip between 1880 and 1938.Model of SS Edinamodel, ss edina, screw steamers, port phillip, bay steamers

Kent was used to carry migrants from the UK at the time of the Victorian Gold Rush Model of Sailing Ship 'Kent' - British Registry kent, clipper ships, malcolm pascoe's family, immigration, gold rush

Before modern design aids, half boat models were made to scale to the boat's hull being built . In later times these scale models were also made by first year apprentices in timber boat building. Now they are mostly prized as a decorative object.Several timber boat builders operated in the Queenscliff area over time.Timber half model of an unknown yachtboat building, boat design, model boats