Object was presented to Kerry Cox, the Vice-Chancellor of the University of Ballarat, while on an overseas trip. No information about the object was provided but search for it on-line showed similar items known as "bull floggers". This maybe an ornamental representation of this type of object.Hand crafted leather and metal object with a deer's foot attached to the handle. Search of object shows similar items known as "bull floggers".vice-chancellor, kerry cox, university of ballarat, bull flogger, overseas gift

Alan Telford VX146055 enlisted in the 2nd AIF on 28.9.43 age 20 years. On discharge from the Army 13.2.46 he was a Pte in 41st Aust Landing Craft Coy. Refer 331.8, 332.2, 358.3, 359.3, 360.4P..1) Set of Metal Discs " ID " one round and one six sided joined by string. .2) Brass Blackened " Rising Sun Badge " .3) Brass Blacked " Australia " Shoulder Badge Curved in Shape.1) VX 146055 Telford A RCAL A2 .2) Australian Commonwealth Military Forces .3) Australiaidentity, badges, uniform

These cane chairs are one of many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the “Giles Collection”. Many items in the Lighthouse Keeper’s Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor’s Flat State School and where she eventually was to become a student teacher. After which she became a governess at “Injemiara” where her grandfather, Francis Freckleton, had once owned land. Henry and Mary’s family consisted of six, some of the children were born at Mailor’s Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940. Heywood & Wakefield Furniture Co: The Heywood-Wakefield Company is an American furniture manufacturer established in 1897. It went on to become a major presence in the US. Its older products are considered collectibles and have been featured on television antique programs. The Heywood brothers established themselves in 1826, as furniture makers and the Wakefield Company began in 1855 as a separate company. Both firms produced wicker and rattan furniture, and as these products became increasingly popular towards the end of the century, they became serious rivals. In 1897 the companies merged as Heywood Brothers & Wakefield Company (this name was changed to Heywood-Wakefield Company in 1921), purchasing Washburn-Heywood Chair Company in 1916, Oregon Chair Company in 1920, and Lloyd Manufacturing Company in 1921. While its wooden furniture plant in Gardner, Massachusetts closed in 1979, a branch in Menominee, Michigan continued to manufacture metal outdoor seats, auditorium seats, and school furniture. The Heywood-Wakefield Company Complex in Gardner was added to the National Historic Register in 1983. The South Beach Furniture Company acquired the rights to the name in 1994 and reproduces its wooden furniture. Both founding companies produced wicker and rattan furniture in the late 19th century.  The wicker styles drew on the Aesthetic Movement and Japanese influences simpler designs arose in the wake of the Arts and Crafts Movement. The merged entity stayed abreast of wicker furniture trends by hiring designers such as Paul Frankl and Donald Deskey during the 1920s. Its furniture was exhibited at the 1933 Century of Progress exhibition and the 1964 New York World's Fair. During the 1930s and 1940s, Heywood-Wakefield began producing furniture using sleek designs based on French Art Deco.The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the village and Museum was established. The wicker furniture is a fine example of late 19th and early 20th century light weight domestic furniture that are today very collectible items and quite rare and valuable.Pair of wicker armchairs, painted dark brown. The open wicker weave pattern extends from the seat up to the armrests and completely over the backrest, plus across the front of the chair below the seat. The seat is very firmly woven and fitted into a timber frame. A reinforcing pattern of wicker work covers the top edges of the armrests and backrest in one piece and folds around to the underside, referred to as ‘rolled serpentine arms and back’. The hollow ends of the armrests are filled with a circular knob of wicker work. The back legs are also completed with decorative wicker knobs. One chair base (3788.01) has been strengthened with metal bracing. The other chair (3788.02) has the remnants of an orange manufacture’s tag fixed to the base. The chairs were made 1897-1921 by Heywood Brothers & Wakefield Company, USA. These chairs are part of the Giles Collection.Printed in black on an orange tag “MANUFA - Heywood B – GARDNE”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, great ocean road, giles collection, giles family, henry and mary jane giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century furniture, wicker armchairs, rolled serpentine wicker work, cane armchair, classic wicker furniture, victorian style furniture, domestic furniture late 19th century, heywood-wakefield company

This metal tin once contained sewing silk thread, and was later used for storing 'B' hinges used in the making of the ship model, Sovereign of the Seas. Natural silk thread used in the model has elasticity and can also be teased out for making fine line for rigging on ship models. This object is one of the tools and accessories used by Jim Williams from about 1930-1955 to hand craft the ship model “HMS Sovereign of the Seas”. It is part of a collection of objects used by Jim Williams, maker of fine ship models from about 1930-1955. Most of the components for the models, as well as many of the tools, were handmade by Jim Williams. Ship model of HMS Sovereign of the Seas, scale model of 17th Century English war ship, was handmade and carved from plans, enclosed in airtight glass case. All components of that model, including even the smallest pulleys, were hand crafted using tools designed and made by Jim. Outstanding details include functional rigging and moving cannons. Please see our record 3732 of the mode Sovereign of the Seas for further details of the ship and the maker. This tailor’s silk container, and its later used as storage for hinges, was used in the hobby and skill of ship model making that has been carried as a leisure activity out for generations. The hobby is often chosen by serving and retired mariners who appreciate the connection with maritime history. This tin was used by local Warrnambool man, Jim Williams, who was employed at Cramond and Dickson clothing store, and then at Fletcher Jones menswear for 27 years. It was used in making components for the model of the historic ship, the Sovereign of the Seas. The Sovereign of the Seas was a historic 17th century English war ship with important maritime heritage. Tin, round, with lid. Red label reads “The "A.B.C" Brand Tailors Sewing Silk (Raven) Color Fast. Dyed by a new process. Manufactured from the best raw silks procurable. Warranted. Made in England. Size No. 1/4 LB” .The container has no contents. This tin is part of a collection of tools and accessories once used by Jim Williams, maker of a series of ship models 1930-1955 including “HMS Sovereign of the Seas”. “The "A.B.C" Brand Tailors Sewing Silk (Raven) Color Fast. Dyed by a new process. Manufactured from the best raw silks procurable. Warranted. Made in England. Size No. 1/4 LB”, Logo on lid is the intertwined letters of “A.B.C.”flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, flagstaff hill maritime village, great ocean road, jim williams, james bernard williams, ship model tools, ship model making, ship model making accessories, "a.b.c" brand tailors sewing silk, b hinges, textile, silk thread, sewing silk, shipwreck coast, ship model, hobby, ship model tool, english war ship

Heywood & Wakefield Furniture Co: The Heywood-Wakefield Company is an American furniture manufacturer established in 1897 that went on to become a major presence in the US. Its older products are considered collectibles and have been featured on television antique programs. The Heywood brothers established themselves in 1826, as furniture makers and the Wakefield Company began in 1855 as a separate company. Both firms produced wicker and rattan furniture, and as these products became increasingly popular towards the end of the century, they became serious rivals. In 1897 the companies merged as Heywood Brothers & Wakefield Company (this name was changed to Heywood-Wakefield Company in 1921), purchasing Washburn-Heywood Chair Company in 1916, Oregon Chair Company in 1920, and Lloyd Manufacturing Company in 1921. While its wooden furniture plant in Gardner, Massachusetts closed in 1979, a branch in Menominee, Michigan continued to manufacture metal outdoor seats, auditorium seats, and school furniture. The Heywood-Wakefield Company Complex in Gardner was added to the National Historic Register in 1983. The South Beach Furniture Company acquired the rights to the name in 1994 and reproduces its wooden furniture. Both founding companies produced wicker and rattan furniture in the late 19th century.  The wicker styles drew on the Aesthetic Movement and Japanese influences simpler designs arose in the wake of the Arts and Crafts Movement. The merged entity stayed abreast of wicker furniture trends by hiring designers such as Paul Frankl and Donald Deskey during the 1920s. Its furniture was exhibited at the 1933 Century of Progress exhibition and the 1964 New York World's Fair. During the 1930s and 1940s, Heywood-Wakefield began producing furniture using sleek designs based on French Art Deco.The chair has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the village and Museum was established. The wicker nursing chair is a fine example of late 19th century light weight domestic furniture that today are very collectible items and quite rare and valuable.Nurse wicker chair, wood, cane and rattan with round rushed seat. The one left arm being that to support the infant during feeding. 1870s-1890s. Believed to have been made by Heywood Brothers & Wakefield Company, USA. flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, great ocean road, 19th century furniture, rolled serpentine wicker work, cane armchair, classic wicker furniture, victorian style furniture, domestic furniture late 19th century, heywood-wakefield company, feeding chair, nursing chair, mother's chair, nursery furniture

A sailing block is single or multiple pulleys with one or more sheaves that are enclosed in an assembly between cheeks or chocks. In use, a block is fixed to the end of a line, to a spar, or a surface. A rope line is reeved through the sheaves, and maybe through one or more matching blocks at the far end, to make up what's known as a tackle. The purchase of a tackle refers to its mechanical advantage. In general, the more sheaves in the blocks that make up a tackle, the higher its mechanical advantage. The matter is slightly complicated by the fact that every tackle has a working end where the final run of rope leaves the last sheave. More mechanical advantage can be obtained if this end is attached to the moving load rather than the fixed end of the tackle. Various types of blocks are used in sailing. Some blocks are used to increase mechanical advantage and others are used simply to change the direction of a line. A ratchet block turns freely when a line is pulled in one direction but does not turn the other direction, although the line may slip past the sheave. This kind of block makes a loaded line easier to hold by hand, and is sometimes used on smaller boats for lines like main and jib sheets that are frequently adjusted. A single, large, sail-powered warship in the mid-19th century required more than 1,400 blocks of various kinds and sizes. An item from an old sailing vessel from the late 19th to early 20th century, unfortunately, the item cannot be identified as to what vessel it belonged to. It does however give an insight into a piece of sailing equipment that's design is still in use today on pleasure sailing craft. Wooden closed spelter double rope block with two pully's between sheaves, block has metal frame around outside of the sheaves and 4 metal pins, 2 each side of the frame at top and 2 at bottom, joining the sheaves together. The shaft between the sheaves is also wooden. Remnants of orange and black paint on outside of block. Shafts are chipped, wood has borer holes. (NOTE: Block was rediscovered after relocating objects to new storage area)Noneflagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, sailing ship, pulley, block, sheave, ship equipment, rope block, sail rigging

Needs context and donar information.Composite plaque depicting a golden eagle imposed on metal disc. Mountains and Asian writing located behind the eagle. There is a metal hook located at the top and a silver coloured screw visible on the verso of the plaque.PMA0203/1 located on verso top left corner ‘Craft Article China’gifts

Displayed at History HouseTin/metal doll with movable joints and wrists. Painted body and head. Paper-mache modelling on head. Burgundy velvet trouser and vest oufit with small pearl-coloured buttons, satin shirt (cream) with lace sleeves. Satin and lace shoes (cream). Burgundy velvet hat.

These hooks were used to make 'hooked' rugs, usually as a craft or hobby. Popular in the 1970s.An example of craft tools from the mid to late 20th century.Metal hook with two-directional clip; varnished wooden handle.Letters scratched into handle "MITHI"rug hooks, rug hooking, crafts

Glass bottle with metal screw-capped lid, contains printing ink (black).Front: (Paper label with black printing) FT Wimble & Co Limited. Incorporated in New South Wales. Special black ink for hand numbering machines. Letterpress printing ink lithographic Gold silver and bronze medals. All Australian states and New Zealand.

Trench art was typically made by soldiers from pieces of shell and shrapnel, which would have been collected and refashioned into many different objects ,some being of a functional type such as containers and holders while others such as this are more decorative. The maker of this art piece was Stanley Morgan 6383 who was born at Mepunga which is East of Warrnambool.This item has significance being a typical example of trench art which has survived over 100 years. Being linked to one of the largest conflicts in which Australia has engaged it has strong historical significance.This model is constructed of metal and wood. It has a propeller mount on either side of the cockpit with propellers front and back. It has two German crosses on the back and one on either wing.The body of the plane rests on four wheels which sit under the wings with two smaller wheels at the front.There is a gold coloured plaque mounted at the front. It stands on a modern wooden mount,On small plaque at front of mount,”Crafted by Trumpeter Stan Morgan France WW1. On the base of the mount on a small sticker,”Mr Lloyd Morgan 19 Mountfield Ave Malvern East Vic 3145warrnambool, trench art, stanley morgan 6383, morgan mepunga

These items belonged to Helena Warren (nee McKeown) of Newmerella. Helena warren was a self taught photographer who became a competent commercial photographer. She was married to William John Warren and lived in Newmerella. She was known for her soft toy making and these items were probably purchased for that activity.These items reflect the popularity of needlework and the making of hand crafted items by women in the mid 20th century.Two packets of metal fasteners. One packet, 2494.1, contains 13 unused snap fasteners - Sew'n Save. They are on a rectangular piece of yellow cardboard. It has black print. There is a pink sticker on the back - 3 different sizes 1/0;3/0;2/0. 2494.2 is a torn piece of cardboard with 5 hooks/eyes attached.needlework warren-helena fasteners newey-goodman

By the late 1800s increasing numbers of Australian working men had at least one good suit as a sign of respectability. Suits could be purchased ready-made, made to measure from a local tailor. The introduction of electric irons meant that the old flat irons and gas stove no longer had to be used. This electric iron would have been used to flatten seams during the tailoring process. This item is representative of a now rare craft that has diminished in the contemporary world.An electric tailor's iron. It has a green base and a black handle. The body of the iron has a flat back and curves to a point at its front. Its handle is metal and is attached with large screws at the top and back side of the base. The top of the handle is covered in black plastic that has finger grooves. there is a black iron resting stand.

This sheath knife belonging originally to German seaman Julius Gebauhr and an artifact associated with the story of the survivors of the wreck of Fiji. A three-masted iron barque Fiji had been built in Belfast, Ireland, in 1875 by Harland and Wolfe for a Liverpool based shipping company. The ship departed Hamburg on 22nd May 1891 bound for Melbourne, under the command of Captain William Vickers with a crew of 25. The ship’s manifest shows that she was loaded with a varied cargo consisting of cases of dynamite, pig iron, steel goods, various spirits, sailcloth, tobacco, coiled fencing wire, concrete, 400 German pianos and other musical instruments. On September 5th, one hundred days out from Hamburg in a squally and boisterous south-west wind, the Cape Otway light was sighted on a bearing differing from Captain Vickers' calculation of his position. At about 2:30 am, Sunday 6th September 1891 land was reported 4-5 miles off the port bow. The captain tried to put the ship on the other tack, but she would not respond. He then tried to turn her the other way but just as the manoeuvre was being completed Fiji struck rock only 274 meters from shore. The place is known as Wreck Bay, Moonlight Head. Efforts were made to lower boats but all capsized or became swamped two of the younger crewmen volunteered to swim for the shore, taking a line. One, a Russian named Daniel Carkland, drowned after the line broke. The other, 17-year-old able seaman Julius Gebauhr, a German, reached shore safely on his second attempt without a line, which he had cut loose with his sheath-knife when it becomes tangled in kelp. He rested on the beach a while then climbed the cliffs in search of help. At about 10 am on Sunday a party of land selectors including F. J. Stanmore, Leslie Dickson found Gebauer. They were on their travels back from Princetown towards Moonlight Head. Gebauer was lying in the scrub in a poor state, bleeding and dressed only in a singlet, socks, belt and his sheath-knife. His rescues gave him food and brandy and some clothing and gain information about the wreck. Some of the men took him to Rivernook, a nearby guest house owned by John Evans, where he was cared for. Stanmore and Dickson rode off to try and summon help. Messages for rescuing the rest of the crew were sent both to Port Campbell for the rocket rescue crew and to Warrnambool for the lifeboat. The S.S. Casino sailed from Portland towards the scene. After travelling the 25 miles to the scene, half of the Port Campbell rocket crew and equipment arrived and was set up on the beach below the cliffs. By this time the crew of Fiji had been clinging to the jib-boom for almost 15 hours. Mr Tregear from the Rocket Crew fired the line the light line broke and the rocket was carried away. A second line was successfully fired across the ship and made fast. The anxious sailors then attempted to come ashore along the line but, as many as five at a time, however, some were washed off. Only 14 of the 24 men who had remained on the ship made it to shore. Many onlookers on the beach took it in turns to go into the surf and drag half-drowned seamen to safety. The wreck of Fiji has smashed apart within 20 minutes of the last man being brought ashore, and it settled in about 6 m of water. Of the 26 men on Fiji, 11 in total lost their lives. The remains of 7 bodies were washed onto the beach. They were buried on the clifftop above the wreck. Captain Vickers was severely reprimanded for his mishandling of the ship and his Masters Certificate was suspended for 12 months. At the time there was a great deal of public criticism at the slow and disorganised rescue attempt to save those on board. The important canvas ‘breech buoy’ or ‘bucket chair’ and the heavy line from the Rocket Rescue was in the half of the rocket outfit that didn’t make it in time for the rescue: they had been delayed at the Gellibrand River ferry. Communications to Warrnambool were down so the call for help didn’t get through on time and the two or three boats that had been notified of the wreck failed to reach it in time. Captain Vickers presented Bill Robe who had dragged the captain out of the surf with his silver cased pocket watch, the only possession that he had left, as a token for having saved his life and the lives of some of the crew. Years later Bill passed the watch to his brother in law Gilbert Hulands as payment of a debt. Since that time it has been passed down the family to Gilbert Hulands’ grandson, John Hulands. Seaman Julius Gebauhr later gave his knife, in its hand crafted leather sheath, to F. J. Stanmore for caring for him when he came ashore. The knife handle has a personal inscription on it. A marble headstone on the 200 m high cliffs overlooking Wreck Beach, west of Moonlight Head, paying tribute to the men who lost their lives when Fiji ran aground. The scene of the wreck is marked by the anchor from the Fiji, erected by Warrnambool skin divers in 1967. Amongst the artefacts salvaged from the Fiji are china miniature animals, limbs from small china dolls, rubber balls, a glass bottle, sample of rope from the distress rocket and a candlestick holder. These items are now part of the Fiji collection at Flagstaff Hill Maritime Museum, along with this sheath knife and Captain Vickers’ pocket watch. Flagstaff Hill’s collection from the wreck of the Fiji and Julius Gebauhr knife is of historical significance at a State level because of its association with the vessel, which is on the Victorian Heritage Register (VHR S 259). The Fiji is archaeologically significant as the wreck of a typical 19th-century international sailing ship with cargo. It is educationally and recreationally significant as one of Victoria's most spectacular historic shipwreck dive sites with structural features and remains of the cargo still evident. Also the story of the heroic attempt by many to save the crew of the Fiji. The knife also represents an aspect of shipping history and fits in well with Victoria's framework of historical themes of living with natural processes as items such as these contribute to a better understanding of Victoria’s cultural history.Knife, metal with black wooden handle. Handle is riveted to knife in 3 places, with shaft of knife between the 2 parts of the handle. The handle also has a carved ring around the end, possibly for attaching a wrist strap. Knife blade is pointed in the centre of the tip and is rusty. The knife has a rectangular metal plaque on handle with inscription. The hand crafted dark brown, soft leather sheath is shaped to fit the knife and joined at the back with cross stitching. The sheath also has a leather belt strap that has come away from the sheath at one end.Metal plaque “FROM JULIUS GEBAUHR/”FIJI” /TO F.J.S.” (F J Standmore recipient)1891, shipwrecked coast, flagstaff hill, flagstaff hill maritime museum, maritime museum, shipwrecked artefact, flagstaff hill maritime village, shipwreck coast, warrnambool, knife, fiji, pocket watch, moonlight head, gebauhr, stansmore, wreck bay, sheath knife

The toy soldier is a relic from the shipwreck of the LOCH ARD in 1878. It has a companion piece in the Flagstaff Hill collection. The toy soldier is unpainted, but the style of uniform, and the weapons carried (a musket and a basket-handled cutlass), indicate it is a representation of the Napoleonic Wars period from the beginning of the nineteenth century. Mass-produced toy soldiers made of cast metal (lead or tin) became popular during the 1800s. Heyde of Germany manufactured silhouette-shaped flat toy soldiers early in the century. Mignot of France released three-dimensional solid figures and later around 1893 W. Britain, a toy company became known for its die-cast lead toy soldiers. These innovations were designed to make sets of toy soldiers more affordable for middle and lower-class children, extending the market beyond the intricately made and hand-crafted replicas that were the preserve of the rich in the eighteenth century. Wooden military figures, specially carved and unpainted ones, were therefore not particularly common at the time when the Loch Ard foundered on Victoria’s southwest coast. Mignot was the first to sell unpainted soldiers, leaving their customers to fill in the colours according to their own patriotic preferences. It is, therefore, possible the two figures in the Flagstaff Hill collection were part of a new set intended for sale, rather than part of a passenger’s existing collection. Loch Ard History: 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 toy soldier represents a 19th-century child's interest in military history. The item is one of two toy soldiers recovered from the Loch Ard in Flagstaff Hill's collection. 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 accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of 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, allowing us to interpret Victoria's social and historical themes. Through is associated with the worst and best-known shipwreck in Victoria's history.An unpainted, cream-coloured toy soldier, recovered from the Loch Ard. The figure wears a Napoleonic Wars-era uniform, a plumed helmet, a short jacket with tails, bib-front trousers with button closure, straps crossed at the front and back, and epaulettes. The figure is in marching posture with one foot extended forward, and is bearing a musket at the slope-arms position, with a sabre or cutlass slung behind. It is unable to stand on its own. There are reddish-brown and orange-brown stains on the head and body. The body has seams along both sides that are uneven at the lower leg. There is a hole in the back and the inside is hollow. The material has a rough texture.flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch ard, toy soldier, napoleonic uniforms, military toy, moulded soldier

William Hutton & Sons were manufacturing silversmiths founded in 1800 in Birmingham with company transferring to Sheffield in 1832. William Hutton had established the firm and with the move to Sheffield, they also became platers having licensed the electroplating technique from the firm of Elkington's. This gave them much early success in the field of electroplating. William's son William Carr Hutton continued the business after his father's death using the same business name until 1864 it was then changed to William Hutton & Son when William Carr's son Herbert Hutton joined him. When William Carr died in 1865, the firm name was again changed to William Hutton & Sons when Herbert's brothers (James & Robert) joined the company. They opened a London showroom in Holborn in 1863 which they moved to Farringdon Road, in 1891 operating until 1918. Hutton's had developed a new nickel alloy that was good for plating and in the late 1800s becoming known as British Plate. They sent their machine-made silver flatware from Sheffield to be hallmarked in London. Hutton's went on to acquire Rupert Favell & Co in 1893 and also registered as a limited company as William Hutton & Sons Ltd in 1902. The Hutton's had also bought Creswick & Co and had started to use their crossed arrows trademark. Hutton's became renowned for the quality of their Arts & Crafts silverware items at the turn of the 19th and 20th centuries. In 1930 Hutton's were taken over by James Dixon & Sons. A significant item that was made around the time electroplating was being developed as a means of producing quality utilitarian items in quantity for domestic use that we're able to be purchased by working-class people.Cruet set of silver plated frame with upright handle protruding from tray base. Holds 5 containers of varying shape and size; 3 have metal lids. Inscription is on the base. Some containers have contents in them.On base "WMH&S" and "01548" etc.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, cruet set, condiments set, kitchen ware, electroplate, britannia metal, w m hutton

A rolling pin is a simple tool used to flatten dough. The first civilisation known to have used the rolling pin was the Etruscans. Their advanced farming ability, along with a tendency to cultivate many plants and animals never before used as food and turn them into sophisticated recipes, were passed to invading Greeks, Romans, and Western Europeans. Thanks to the Etruscans, these cultures are associated with gourmet cooking. To prepare their inventive foods, the Etruscans also developed a wide range of cooking tools, including the rolling pin. Although written recipes did not exist until the fourth century B.C., the Etruscans documented their love of food and its preparation in murals, on vases, and on the walls of their tombs. Cooking wares are displayed with pride; rolling pins appear to have been used first to thin-roll pasta that was shaped with cutting wheels. They also used rolling pins to make bread (which they called puls) from the large number of grains they grew. Natives of the Americas used more primitive bread-making tools that are favoured and unchanged in many villages. Chefs who try to use genuine methods to preserve recipes are also interested in both materials and tools. Hands are used as "rolling pins" for flattening dough against a surface, but also for tossing soft dough between the cook's two hands until it enlarges and thins by handling and gravity. Tortillas are probably the most familiar bread made this way. Over the centuries, rolling pins have been made of many different materials, including long cylinders of baked clay, smooth branches with the bark removed, and glass bottles. As the development of breads and pastries spread from Southern to Western and Northern Europe, wood from local forests was cut and finished for use as rolling pins. The French perfected the solid hardwood pin with tapered ends to roll pastry that is thick in the middle; its weight makes rolling easier. The French also use marble rolling pins for buttery dough worked on a marble slab. Glass is still popular; in Italy, full wine bottles that have been chilled make ideal rolling pins because they are heavy and cool the dough. Countries known for their ceramics make porcelain rolling pins with beautiful decorations painted on the rolling surface; their hollow centres can be filled with cold water (the same principle as the wine bottle), and cork or plastic stoppers cap the ends. Designs for most rolling pins follow long-established practices, although some unusual styles and materials are made and used. Within the family of wooden rolling pins, long and short versions are made as well as those that are solid cylinders (one-piece rolling pins) instead of the familiar style with handles. Very short pins called mini rolling pins make use of short lengths of wood and are useful for one-handed rolling and popular with children and collectors. Mini pins ranging from 5 to 7 in (12.7-17.8 cm) in length are called texturing tools and are produced to create steam holes and decorations in pastry and pie crusts; crafters also use them to imprint clay for art projects. These mini pins are made of hardwoods (usually maple) or plastic. Wood handles are supplied for both wood and plastic tools, however. Blown glass rolling pins are made with straight walls and are solid or hollow. Ceramic rolling pins are also produced in hollow form, and glass and ceramic models can be filled with water and plugged with stoppers. Tapered glass rolling pins with stoppers were made for many centuries when salt imports and exports were prohibited or heavily taxed. The rolling pin containers disguised the true contents. The straight-sided cylinder is a more recent development, although tapered glass pins are still common craft projects made by cutting two wine bottles in half and sealing the two ends together so that the necks serve as handles at each end.Tiny rolling pins are also twisted into shape using formed wire. The pins will not flatten and smooth pastry, and the handles do not turn. The metal pins are popular as kitchen decorations and also to hang pots, pans, and potholders. https://www.encyclopedia.com/sports-and-everyday-life/food-and-drink/food-and-cooking/rolling-pinThe use of the rolling pin to make thin pastry or pasta.Wooden rolling pin with some damage on cylinder section.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, rolling pin, cooking, pastry

Ship model Eumeralla steamship with one funnel, two masts portholes in hull, set against a coastal scene with lighthouse. Ship is painted green. Model is in a wooden framed glass case. Split on background scene. Case strengthened by metal brackets at top corners and bottom front corners. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

The aims of the School was "To provide a Technical Training which will prepare girls for their future life's work. This school provides a continuity of study between the Primary and Senior Technical School (School of Mines) classes. This supplies a long felt want in giving a preliminary training for Technical Art, Craft, Commercial, and Industrial Education. It must, however, be distinctly understood that these Preparatory Classes do not fully qualify girls in any of the subjects, but rather discover their aptitude for some line of technical work and thoroughly prepare the to specialise in that particular branch.Prospectus for girls technical education at the Ballarat School of Mines and the Ballarat Technical Art Schoolgirls education, ballarat technical girls' school, ballarat school of mines, ballarat technical art school, commercial, leatherwork, photography, ticket witing, wood carving, drawing, metal work, lithography, dressmaking, millinery, industrial design, scholarships, shorthand, typewriting, ceramics, bookbinding, french polishing, wood inlay

The Ballarat Technical Art School made many honour boards for schools and organisation in Victoria and interstate. Their own was made, but the names were not listed. The Ballarat School of Mines Annual Report for 1921 states: 'It has been decided, for the present, to record the names of our students who served in the warm, in an Honor Book, and to defer the erectin of an Honor Board until we can feel ssured that the Roll is complete. the wide spread occupations of our students has rendered it very difficult for us to secure detailed information of their service. A handsome Honor Book and Case has been designed and executed by the staff ad students of the technical Art School, and the engrossing of the names and military records will be proceeded with as soon as possible. The Technical Art School was quite busy with commissions. The SMB Annual Report of 1918 states: 'under the direction of the Art principal (Mr H.H. Smith), the work of the Art School continues to receive wide public recognition. Handsome Honor Boars have been designed and executed for the Sydney Sports' Club, the St Arnaud High School, the Birregurra State School, the Wendouree State School and the Ballarat Old Colonists' Club. The School also designed the certificates for the Young Workers' Patriotic Guild, the 'Herald" Shield for perpetual competition at the technical Schools' athletic meetings, the "Hansen" Shield for competition among the Northern District High Schools, two metal tablets for the Castlemaine high School, and a certificate for the Grampians Secondary Schools' Association. Numerous Honor Books and Mural cases have also been designed for State Schools.' Over 400 former students and staff of the Ballarat School of Mines served during World War One. The 1920 SMb Students' Magazine said' 'Many students left Australia with the first Contingent, and since then, the School has been represented on every field where Australians have fought, from the first landing at Gallipoli to the decisive victory on the 8 August 1918.' The influence of the school was appropriately shown in the fact that at least 13 of its students were officers in the Australian Mining Corps. The title page has the initials 'D.J.' which most probably stands for Donald I. Johnston, a teacher with the Ballarat Technical Art school from 1920 to 1949. The Ballarat School of Mines World War 1 Honor Book remained uncompleted for more than 90 years. The names of over 400 SMB staff and students who served their country were not inscribed until 2012, despite names, ranks and service records being compiled. A restoration project was instigated as part of the 140th anniversary of the Ballarat School of Mines in 2010. Names were inscribed into the book by Calligrapher Lyn Forrester. The University of Ballarat believed this project is important not only to SMB's history, but the families and descendants of those who served while studying or teaching at SMB. The restoration project involved names being hand written in calligraphy into the Honor Book and was funded with the assistance of the 'Restoring Community War Memorial Grant'. The memorial was designed and made by the staff and students of the Ballarat School of Mines Technical Art School under the direction of Principal Herbert H. Smith. In 1921 the Ballarat School of Mines Annual Report recorded: "It has been decided, for the present, to record the names of our students who served in the war, in an Honor Book, and to defer the erection of an Honor Board until we can feel assured that the roll is complete. The wide spread occupations of our students has rended it very difficult for us to secure detailed information of their service. A handsome Honor Book and case has been designed and executed by the staff and students of the Technical Art School, and the engrossing of the names and miliatary records will proceed with as soon as possible. The Ballarat Technical Art School and was involved with the design and manufacture of numerous WW1 memorials. When it came time to complete their own memorial, the Principal died, and the Honor Roll must have been overlooked in the confusion that ensued. There have been numerous theories about why the Honor Roll was never completed, one being that it was because the SMB Principal, Maurice Copland, literally worked himself to death organising repatriation classes for ex-soldiers who attended SMB. The Courier of 18 November 1922 said of Maurice Copland: “He put his very best into the work for the welfare of the soldiers; in fact, he did too much for the good of his physique, for he wore himself out in the services of the returned men. If ever there was a war victim the late Mr Copland was one. But for the stress of work entailed by those repatriation classes and the amount of general war work which he performed Mr Copland would probably have been with them today." Understandably, SMB was thrown into some disarray by their Principal's death and the Honor Book was not completed. The University of Ballarat would like to finally honor its SMB war veterans by completing the Honor Book and as a further mark of respect, dedicate the project to Maurice Copland. The Ballarat Technical Art School undertook many honor boards. The Ballarat School of Mines Annual Report 1918 states: "Under the direction of the Art Principal (Mr H.H. Smith), the work of the Art School continues to receive a wide public recognition. handsome Honor Boards have been designed and executed for the Sydney Sports' Club, the St Arnaud High School, the Birregurra State School, the wendouree State School and the Ballarat Old Colonists' Club. The School also designed certificates for the Young Workers' patriotic Guild, the "Herald" Shield for perpetual Competition at the Technical schools athletics meetings, the "Hansen" Shield for competition in the northern District High Schools, two metal tablets for the Castlemaine High School, and a certificate for the Grampians Secondary Schools' Association. Numerous Honor Gooks and mural cases have also been designed for State Schools." The 1920 Ballarat School of Mines Annual Report stated: Public appreciation of the High standard of design and artistic craft work produced by the students of the Art School, under the direction of the Principal (Mr Herbert H. Smith), continues to be demonstrated by the lage number of important commissions entrusted to the school, not only by the public bodies and business firms by the Education Department and public bodies all over the State." "Amongst the important local commissions received during the year was the designing and supplying of the Municipal Council's Address of Welcome Casket for presentation to His Royal Highness the Prince of Wales, the designing and supervising of a large four-light stained glass window for the Lydiard Street Methodist Church, ... and supply numerous honor books, honor boards, etc., for public institutions and school." "The School has been honored by, and has acceded to the request of the Education Department to supply designs for the title page, chapter headings and initial letters for the War Service Book which it is about to publish, Mr F. Tate, director of Education, recognising the students' work in this direction by an appreciative letter of thanks. The Education Department has also been instrumental in directing to the School applications from all parts of the State, including Melbourne, for the School to supply competitive sports shields, honor boards, books and designs for certificates, and various decorative objects. The School has therefor been responsible for much work coming to local Ballarat firms which would otherwise have found its way to Melbourne or other centres. In 2011, as the result of a 'Restoring Community War Memorials Grant' calligrapher Lynton Forrester was commissioned to record over 400 names into the honor book. A red leatherbound Ballarat School of Mines Honor Book. The book includes a title page relating to the Ballarat School of Mines and Industries. The Ballarat School of Mines Honor Book was not finally inscribed with names until 2011-2012. world war one, ww1, ballarat school of mines, world war 1, world war i, honour roll, calligraphy, don johnston, honor book, honor roll, copeland, maurice copeland, honour book, roll of honour, percy coltman, arthur e. tandy, leslie coulter

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots.The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century.Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". Tatting looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. A shuttle is a small tool that looks like a small boat "sailing" in and out of the thread. Tatting is called "schiffchenarbeit" in German, which means "the work of a little boat". There are two popular types of shuttles. The first has closed ends and a removable bobbin where the thread is wound around - often made from metal or plastic (as is item 8535.1). The second type has a post in the center where the thread is wound (e.g. item 8535.2). The ends of this bobbin are open but snug. Because it is constructed in two pieces, it can be made from materials like bone, ivory or mother of pearl. Shuttles hold a larger amount of thread (as compared with needles) which means fewer ends to weave in. Fishermen in the past are thought to have used large shuttles to weave cord into certain knots whilst making their fishing nets. Their methods were copied by weavers, who innovated by using threads and smaller shuttles to make lace. One type of tatting shuttle produced by "Aero" from the 1930's to the late 1960's was an anodized grey coated aluminium shuttle with a sharp pick at one end. In the 1970's it was superseded by the grey plastic "Aero" which has a removeable bobbin which you can put on the end of the shuttle to make thread winding easier and an embedded crochet hook for joining picots. The "Aero" company developed in Redditch, England - a town renowned as a centre for manufacturing needles. Firms run by Henry Milward and Abel Morrall were based in Redditch and by the 18th century Redditch was manufacturing one million sewing needles per year. Abel Morrall Ltd launched the "Aero" brand in 1936 and greatly expanded the firm's product line to include tatting shuttles and knitting needles. The classic plastic "Aero" tatting shuttle was manufactured in England from the early 1970's until the 1990's. These items are significant as examples of easily accessible handiwork tools that enabled women in the 1930s -1960s to be able to decorate and personalize their household linen and clothing.Shuttle no. 8535.1 is a beige, boat shaped plastic shuttle with enclosed ends, small round central indentations on both sides and an enclosed black removeable bobbin. The shuttle has a grooved point at one end to hold a bobbin and a small metal crochet hook at the other end. Shuttle no. 8535.2 is a beige, boat shaped metal shuttle with pointed ends that are open but snug, small round central indentations and two smaller circular markings (on both sides) and two internal posts with cream thread wound around.Shuttle no. 8535.1 - "AERO" / "ENGLAND" Shuttle no. 8535.2 - "AERO' / "ENGLAND" "39c" (written in ball point pen)flagstaff hill maritime museum and village, flagstaff hill, warrnambool, shipwreck coast, great ocean road, tatting shuttle, aero company, handwork, handwork tool, craft, handcraft, needlework, tatting

The Ballarat Technical Art School made many honour boards for schools and organisation in Victoria and interstate. Their own was made, but the names were not listed. The Ballarat School of Mines Annual Report for 1921 states: 'It has been decided, for the present, to record the names of our students who served in the warm, in an Honor Book, and to defer the erection of an Honor Board until we can feel assured that the Roll is complete. the wide spread occupations of our students has rendered it very difficult for us to secure detailed information of their service. A handsome Honor Book and Case has been designed and executed by the staff and students of the Technical Art School, and the engrossing of the names and military records will be proceeded with as soon as possible. The Technical Art School was quite busy with commissions. The SMB Annual Report of 1918 states: 'under the direction of the Art principal (Mr H.H. Smith), the work of the Art School continues to receive wide public recognition. Handsome Honor Boars have been designed and executed for the Sydney Sports' Club, the St Arnaud High School, the Birregurra State School, the Wendouree State School and the Ballarat Old Colonists' Club. The School also designed the certificates for the Young Workers' Patriotic Guild, the 'Herald" Shield for perpetual competition at the technical Schools' athletic meetings, the "Hansen" Shield for competition among the Northern District High Schools, two metal tablets for the Castlemaine high School, and a certificate for the Grampians Secondary Schools' Association. Numerous Honor Books and Mural cases have also been designed for State Schools.' Over 400 former students and staff of the Ballarat School of Mines served during World War One. The 1920 SMb Students' Magazine said' 'Many students left Australia with the first Contingent, and since then, the School has been represented on every field where Australians have fought, from the first landing at Gallipoli to the decisive victory on the 8 August 1918.' The influence of the school was appropriately shown in the fact that at least 13 of its students were officers in the Australian Mining Corps. The title page has the initials 'D.J.' which most probably stands for Donald I. Johnston, a teacher with the Ballarat Technical Art school from 1920 to 1949. The Ballarat School of Mines World War 1 Honor Book remained uncompleted for more than 90 years. The names of over 400 SMB staff and students who served their country were not inscribed until 2012, despite names, ranks and service records being compiled. A restoration project was instigated as part of the 140th anniversary of the Ballarat School of Mines in 2010. Names were inscribed into the book by Calligrapher Lyn Forrester. The University of Ballarat believed this project is important not only to SMB's history, but the families and descendants of those who served while studying or teaching at SMB. The restoration project involved names being hand written in calligraphy into the Honor Book and was funded with the assistance of the 'Restoring Community War Memorial Grant'. The memorial was designed and made by the staff and students of the Ballarat School of Mines Technical Art School under the direction of Principal Herbert H. Smith. In 1921 the Ballarat School of Mines Annual Report recorded: "It has been decided, for the present, to record the names of our students who served in the war, in an Honor Book, and to defer the erection of an Honor Board until we can feel assured that the roll is complete. The wide spread occupations of our students has rended it very difficult for us to secure detailed information of their service. A handsome Honor Book and case has been designed and executed by the staff and students of the Technical Art School, and the engrossing of the names and miliatary records will proceed with as soon as possible. The Ballarat Technical Art School and was involved with the design and manufacture of numerous WW1 memorials. When it came time to complete their own memorial, the Principal died, and the Honor Roll must have been overlooked in the confusion that ensued. There have been numerous theories about why the Honor Roll was never completed, one being that it was because the SMB Principal, Maurice Copland, literally worked himself to death organising repatriation classes for ex-soldiers who attended SMB. The Courier of 18 November 1922 said of Maurice Copland: “He put his very best into the work for the welfare of the soldiers; in fact, he did too much for the good of his physique, for he wore himself out in the services of the returned men. If ever there was a war victim the late Mr Copland was one. But for the stress of work entailed by those repatriation classes and the amount of general war work which he performed Mr Copland would probably have been with them today." Understandably, SMB was thrown into some disarray by their Principal's death and the Honor Book was not completed. The University of Ballarat would like to finally honor its SMB war veterans by completing the Honor Book and as a further mark of respect, dedicate the project to Maurice Copland. The Ballarat Technical Art School undertook many honor boards. The Ballarat School of Mines Annual Report 1918 states: "Under the direction of the Art Principal (Mr H.H. Smith), the work of the Art School continues to receive a wide public recognition. handsome Honor Boards have been designed and executed for the Sydney Sports' Club, the St Arnaud High School, the Birregurra State School, the wendouree State School and the Ballarat Old Colonists' Club. The School also designed certificates for the Young Workers' patriotic Guild, the "Herald" Shield for perpetual Competition at the Technical schools athletics meetings, the "Hansen" Shield for competition in the northern District High Schools, two metal tablets for the Castlemaine High School, and a certificate for the Grampians Secondary Schools' Association. Numerous Honor Gooks and mural cases have also been designed for State Schools." The 1920 Ballarat School of Mines Annual Report stated: Public appreciation of the High standard of design and artistic craft work produced by the students of the Art School, under the direction of the Principal (Mr Herbert H. Smith), continues to be demonstrated by the lage number of important commissions entrusted to the school, not only by the public bodies and business firms by the Education Department and public bodies all over the State." "Amongst the important local commissions received during the year was the designing and supplying of the Municipal Council's Address of Welcome Casket for presentation to His Royal Highness the Prince of Wales, the designing and supervising of a large four-light stained glass window for the Lydiard Street Methodist Church, ... and supply numerous honor books, honor boards, etc., for public institutions and school." "The School has been honored by, and has acceded to the request of the Education Department to supply designs for the title page, chapter headings and initial letters for the War Service Book which it is about to publish, Mr F. Tate, director of Education, recognising the students' work in this direction by an appreciative letter of thanks. The Education Department has also been instrumental in directing to the School applications from all parts of the State, including Melbourne, for the School to supply competitive sports shields, honor boards, books and designs for certificates, and various decorative objects. The School has therefor been responsible for much work coming to local Ballarat firms which would otherwise have found its way to Melbourne or other centres. In 2011, as the result of a 'Restoring Community War Memorials Grant' calligrapher Lynton Forrester was commissioned to record over 400 names into the honor book. A Victorian Blackwood World War I Honor Board holds a red leatherbound Ballarat School of Mines Honor Book. The book includes a title page relating to the Ballarat School of Mines and Industries. The Ballarat School of Mines Honor Book and case was not finally inscribed with names until 2012. world war one, ww1, ballarat school of mines, world war 1, world war i, honour roll, calligraphy, don johnston, honor book, honor roll, copeland, maurice copeland, honour book, roll of honour, percy coltman, arthur e. tandy, leslie coulter

The toy soldier is a relic from the shipwreck of the LOCH ARD in 1878. It has a companion piece in the Flagstaff Hill collection. The toy soldier is unpainted, but the style of uniform, and the weapons carried (a musket and a basket-handled cutlass), indicate it is a representation of the Napoleonic Wars period from the beginning of the nineteenth century. Mass-produced toy soldiers made of cast metal (lead or tin) became popular during the 1800s. Heyde of Germany manufactured silhouette-shaped ‘flats’ early in the century; then Mignot of France released three-dimensional ‘solids’; and later (1893) Britain of England made ‘hollow cast’ figures. These innovations were designed to make sets of toy soldiers more affordable for middle and lower-class children, extending the market beyond the intricately made and hand-crafted replicas that were the preserve of the rich in the eighteenth century. Wooden military figures, specially carved and unpainted ones, were therefore not particularly common at the time when the LOCH ARD went down on Victoria’s southwest coast. Mignot was the first to sell unpainted soldiers, leaving their customers to fill in the colours according to their own patriotic preferences. If a similar attitude is assumed for the two virtually identical figures in the Flagstaff Hill collection, it is possible they were part of a new set intended for sale, rather than part of a passenger’s existing collection. A similarly light composite material of sawdust, glue and linseed oil (press-moulded onto a metal frame) was used by the German firm O & M Hausler to create toy soldiers, but this type of modelling was not commercialised until after 1912. The first heat-moulded plastic toy soldiers did not become available until after 1945.The toy soldier represents a 19th century child's interest in military history. The item is one of two toy soldiers recovered from the Loch Ard that are in Flagstaff Hill's collection. 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.An unpainted replica or toy soldier, presented in a Napoleonic Wars era uniform. The moulded figure is in a standing posture and is bearing a musket at the slope-arms position, with a sabre or cutlass slung behind. It wears a plumed helmet, short-fronted coat with longer buttoned tails at the back, button-fastened bib-front trousers, a pair of crossed bandoliers, and tasselled shoulder epaulettes. The figure is a creamy colour with red-brown stains on the head and shoulder. There is a hole in the end of the musket. The model is detailed and sharp. It was recovered from the wreck of the Loch Ard.Cataloguing numbers: “6599” on the rear of the left trouser leg “PWO 2308” on the sole of the left boot, (partially obscuring “R122” written in biro) “2218” on the sole of the right boot.flagstaff hill, warrnambool, loch ard, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, napoleonic uniform, toy soldier, replica soldier

Four page booklet relating to the visit of the Council to the Ballarat School of Mines departments of Physical Education, Metal Fabrication, Fitting and Machining, Music, Auditorium, Art and Craft, Business Studies and Adminstration. ballarat school of mines, ballarat school of mines council

This model of the ship H.M.S. Lady Nelson was researched and built as the vessel Lady Nelson by David Lumsden, a professional ship model builder. His Majesty's Armed Survey Vessel Lady Nelson was commissioned in 1799 to survey the coast of Australia. This vessel was purpose-built before the British Admiralty requested plans for a Schooner for Port Jackson. At the time large parts of the Australian coast were unmapped and Britain had claimed only part of the continent. The British Government were concerned that, in the event of settlers of another European power becoming established in Australia, any future conflict in Europe would lead to a widening of the conflict into the southern hemisphere to the detriment of the trade that Britain sought to develop. Against this background, Lady Nelson was chosen to survey and establish sovereignty over strategic parts of the continent. Lady Nelson left Portsmouth on 18 March 1800 and arrived at Sydney on 16th December 1800 after having been the first vessel to reach the east coast of Australia via the Bass Strait. Before that date, all vessels had sailed around the southern tip of Tasmania to reach their destination. Lady Nelson's survey work commenced shortly after she arrived in Sydney, initially in the Bass Strait area. She was involved in the discovery of Port Phillip, on the coast of Victoria, in establishing settlements on the River Derwent and at Port Dalrymple in Tasmania. She also successfully chartered much of the Victorian coastline and was heavily involved with the exploration of the Queensland coast with Matthew Flinders; investigated the Hunter River; made numerous visits to New Zealand and Norfolk Island and was involved in the founding of numerous settlements. In comparison to most colonial vessels, the Lady Nelson was technically unique she was fitted with sliding keels, or centreboards, and water-tight trunks reaching to the deck. Captain Schank invented these sliding keels that, when raised, reduced her draught to less than six feet. Her life as an exploration vessel ended while accompanying HMS 'Tamar' to Melville Island in 1825, the 'Lady Nelson' was captured and later abandoned by pirates off the island of Babar (Indonesia). This brought the vessel's 25 years of coastal exploration and navigation to a close.The Lady Nelson made was the first British ship to survey of the southern or south-western coast of Australia and traverse the Bass Strait. The vessel holds a special place in Australia's history of exploration as the first to explore and establish settlements in the then-new British colony of Van Diemans Land. The model gives an insight into what life must have been like onboard sailing vessels of the time and Australia's early history of establishment and exploration. This model acts as an important legacy of the full-scale ship which no longer survives. Ship model of the 60 ton British brig HMS Lady Nelson. Timber model of a two-masted brig with rigging but no sails, displaying the British Union Jack flag. The ship is in a glass exhibition display case on metal stand. HMS Lady Nelsonflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, by captain john schanck, sliding keels or centreboards, lady nelson, british brig hms lady nelson, david lumsden ship model builder, lieutennant james grant, bass strait discovery, surveying king island and port phillip bay, philip gidley king

A foghorn is a device that uses sound to warn of navigational hazards like rocky coastlines, or boats of the presence of other vessels, in foggy conditions. The term is most often used with marine transport. When visual navigation aids such as lighthouses are obscured, foghorns provide an audible warning of rocky outcrops, shoals, headlands, or other dangers to shipping. An early form of fog signal was to use a bell, gong, explosive signal or firing a cannon to alert shipping. From the early 20th century an improved device called the diaphone was used in place of these other devices, The diaphone horn was based directly on the organ stop of the same name invented by Robert Hope-Jones, creator of the Wurlitzer organ. Hope-Jones' design was based on a piston that was closed only at its bottom end and had slots, perpendicular to its axis, cut through its sides, the slotted piston moved within a similarly slotted cylinder. Outside of the cylinder was a reservoir of high-pressure air. Initially, this air would be admitted behind the piston, pushing it forward. When the slots of the piston aligned with those of the cylinder, air passed into the piston, making a sound and pushing the piston back to its starting position, whence the cycle would be repeated. This method of producing a low audible sound was further developed as a fog signal by John Northey of Toronto and these diaphones were powered by compressed air produced by an electric motor or other mechanical means that admitted extremely powerful low-frequency notes. The example in the Flagstaff collection is an early cased and portable diaphone used on pleasure or sailing craft. By manually turning the crank handle air is produced and fed into valves that direct air across vibrating metal reeds to produce the required sound. in foggy weather, fog horns are used to pinpoint a vessels position and to indicate how the vessel is sailing in foggy conditions. One blast, when sailing on starboard tack and two blasts, when sailing on a port tack and three dots, when with wind is behind the vessel. Since the automation of lighthouses became common in the 1960s and 1970s, most older foghorn marine installations have been removed to avoid the need to run the complex machinery associated with them, and have been replaced with an electrically powered diaphragm or compressed air horns. The example in the collection is significant as it was used in the early 19th century for sailing vessels was important but these portable crank fog horns have also been superseded by modern electric varieties. Therefore the item has a historical connection with sailing and maritime pursuits from our past.English Rotary Norwegian Pattern nautical foghorn within a boxed pine varnished case with exposed corner dovetailing, original leather carrying strap, brass side crank, and original copper trumped horn. Card accessory with Directions for Use in both English and French.Noneflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, foghorn, maritime technology, maritime communication, marine warning signal, portable foghorn, bellows foghorn, crank handle, robert hope-jones, john northey

A broad axe is used for the initial cutting and shaping of a log to prepare it for the piece to be made. The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings. You can see Laurie’s inscription on the tool called a ‘bevel’. Laurie worked for Ports and Harbours, Melbourne, for over 50 years, beginning in the early 1960s. He and a fellow shipwright inscribed their names on a wheelhouse they built in 1965; the inscription was discovered many decades later during a repair of the plumbing. Many decades later Laurie worked on the Yarra moving barges up and down the river and was fondly given the title ‘Riverboat Man’ His interest in maritime history led him to volunteer with the Maritime Trust of Australia’s project to restore and preserve the historic WWII 1942 Corvette, the minesweeper HMAS Castlemaine, which is a sister ship to the HMAS Warrnambool J202. Laurie Dilks donated two handmade displays of some of his tools in the late 1970s to early-1980s. The varnished timber boards displayed the tools below together with brass plaques. During the upgrade of the Great Circle Gallery Laurie’s tools were transferred to the new display you see there today. He also donated tools to Queenscliffe Maritime Museum and Clunes Museum.The shipwright’s tools on display in the Great Circle Gallery are connected to the maritime history of Victoria through their past owner, user and donor, Laurie Dilks. Laurie began his career as a shipwright at Ports and Harbours in Melbourne in the mid-1900s, following in the wake of the skilled carpenters who have over many centuries used their craft to build and maintain marine vessels and their fittings.Broad axe; a wooden handle with a round metal wedge-shaped head, reinforced with a metal plate on at the back of the handle. There is a hole in the handle about halfway along its length. It once belonged to shipwright Laurie Dinks.flagstaff hill, maritime museum, maritime village, warrnambool, shipwreck coast, great ocean road, shipwright, carpenter, shipbuilding, ship repairs, hand tool, equipment, caulking, ship maintenance, cooper, shipwright’s tools, shipwrights’ tools, tools, maritime trade, broad axe, caulking iron, laurie dilks, l dilks, port and harbours melbourne