This cook book has been published by the Friends of Flagstaff Hill Maritime Village Inc. This group do volunteer work at Flagstaff Hill, publicize the activities and historical collection at the Village and raise funds to carry out improvements and new installations. Flagstaff Hill Maritime Village was established in 1975, initially as a private venture sponsored by a group of businessmen in Warrnambool but it was later taken over by the Warrnambool City Council. It operates as an historical park and a tourist venture every day of the year except Christmas Day and has a night Sound and Light Show called ‘Shipwrecked’. The historical collection at the Village features many important shipwreck relics from the area, with the most important being the ‘Loch Ard’ ceramic peacock. The cook book is a tribute to the local women of the past and there are many recipes collected from the ‘Grannies’ of yesteryear. The tea rooms at Flagstaff Hill Maritime Village are called ‘Stella Maris’ (Latin for ‘Star of the Sea’) and call to mind both the maritime heritage of the area and the name of the Australian Catholic Missions to Seamen which still operates. This book is of interest as a product of Flagstaff Hill Maritime Village. It has been edited by John Lindsay who was one of the founders of Flagstaff Hill in 1975 and is today a Life Member and Helen Sheedy who has also been connected with the administration of the Village in the past. The book also features art works from many artists from Warrnambool and district. This is a soft cover book of 100 pages. The cover has a white background with a colour sketch of the Flagstaff Hill Maritime Village Stella Maris Tea Rooms on the front cover and a colour photograph of a Flagstaff Hill panorama on the back cover. The book contains an introduction, some information related to food, cooking and diet, recipes from the past and present, some local historical material and some information on the artists whose work is featured in the book. Many colour sketches and photographs are scattered throughout the text. The book is bound with plastic spiral rings and the front is covered with a sheet of clear plastic. stella maris tea rooms, warrnambool, flagstaff hill maritime village, history of warrnambool

This is the programme of a concert staged by the Warrnambool Orchestral Society, probably in 1904, in the Warrnambool Town Hall. As well as the Warrnambool Orchestra conducted by Louis Bayer, the concert featured Watkin Mills, Eduard Parlovitz and the Western District Orchestra. Louis Bayer (1857-1907) was born in Germany and came to Warrnambool in 1891. With his wife he taught piano, violin, orchestration and singing and established the Warrnambool Orchestral Society. Bayer was the Musical Director of the 1896-7 Warrnambool Industrial and Art Exhibition, composing the Cantata for the opening ceremony and directing over 60 musical performances, including 22 operas and many concerts. Bayer was a composer and produced many operas, including one called ‘Federation’. Robert Watkin-Mills (1849-1930) was the leading English bass baritone concert performer of his time. He was successful in Britain, U.S.A. and Canada and moved to Canada in 1914. He toured Australia in 1904 and again in 1905. Eduard Parlovitz was a distinguished Polish pianist. This programme is of great significance as an example of a 1904 concert produced under the direction of Louis Bayer, one of the most important musicians in Warrnambool’s history. The concert also featured two internationally-known artists, demonstrating that in 1904 Warrnambool was a venue for the top musicians of the day. These are two sheets of paper folded to make one cover and four pages of printed material. The cover is pink with borders, some ornamental, forming the text boxes that separate the concert information from advertisements for two Warrnambool businesses. The programme details are printed on the white paper inside the cover and include two advertisements. The programme has been stapled but the metal staple has been removed. The programme is slightly torn on the cover edges. warrnambool orchestral society, louis bayer, robert watkin-mills, eduard parlovitz

The Warrnambool Industrial and Art Exhibition of 1896-7 was held for three months in the Town Hall/Council Chambers/ Mechanics Institute buildings with additional temporary buildings placed on the Liebig and Timor Streets corner area. It was one of the biggest events ever held in Warrnambool with an estimated 70,000 attending. John Villiers, the owner of a glassware and crockery shop in Liebig Street and a well-known theatrical performer, had a large display stand at the Exhibition. He displayed glassware items from Britain and Europe and sold souvenirs of the Exhibition. Villiers engaged Mr Bartholomew, a Melbourne engraving artist, and he gave engraving exhibitions at Villiers’ stall. Glass etching had not been seen in Warrnambool previous to this. No doubt many of his engraved objects were sold and this glass tumbler would be one of these. This is a valuable and significant item because:- 1. It is an important souvenir from the Warrnambool Industrial and Art Exhibition of 1896-7, the only one we have from Villiers’ stall. 2. It is an example of what is believed to be the first etching on glass to be done in Warrnambool. The identity of ‘M.R.’ is not known. This is an etched glass tumbler from the Warrnambool Industrial and Art Exhibition of 1896-7. It is plain glass with a solid base. A three branched frond of fern is on one side of the glass and a two-branched frond of leaves on the other. ‘Warrnambool Exhibition, M.R. 1897’ warrnambool, warrnambool industrial and art exhibition 1896-7, etched glass tumbler, john villiers 1896, warrnambool souvenirs, villiers

These coasters and placemats are souvenirs of the 75th anniversary of the Warrnambool Technical School. The scenes depicted are Original Timor Street School built 1926, Timor Street with second storey 1967, New School built 1972. Dunkeld Annexe commenced 1975, Library new School built 1972, Annexe on Hill 1962 to 1978. They depict the ongoing development of the school which now operates as Brauer College in Caramut Road Warrnambool. Historical and social. A common item in the 20th century and as one of Warrnambool’s largest and longest running school would have some interest for a large number of local people. The artist John Moir was a local artist.Six White drink coasters with different black and white sketches. Rounded corners edged in black. In olive green box. Set two consists of two gilt metal coasters with engravings. Both are incorrectly labelled. Blue felt on the reverse. The scenes depicted are 000828.1.1 Original Timor Street School built 1926, 000828.1.2 Timor Street with second storey 1967, 000828.1.3 New School built 1972. 000828.1.4 Dunkeld Annexe commenced 1975, 000828.1.5 Library new School built 1972, 000828.1.6 Annexe on Hill 1962 to 1978. They depict the ongoing development of the school which now operates as Brauer College in Caramut Road Warrnambool. The two gilt metal coasters 000828.2.1 Library new School Built 1972 000828.2.2 Annexe on Hill 1962 to 1973 Placemats 000828.3.1 Original Timor Street School built 1926, 000828.3.2 Timor Street with second storey 1967, 000828.3.3 New School built 1972. 000828.3.4 Dunkeld Annexe commenced 1975, 000828.3.5 Library new School built 1972, 000828.3.6 Annexe on Hill 1962 to 1978.All have artist’s signature, John Moir, Warrnambool Technical School 1913-1988. warrnambool, warrnambool technical school, warrnambool annexe, timor street technical school, john moir, warrnambool souvenirs

This is a photograph of a painting by the noted artist George Webb (1861-1949). Webb was best known for his portraits of civic dignitaries in Melbourne and Adelaide but he also produced many landscapes and seascapes. Some of these feature Warrnambool landmarks as he married, in the late 1890s, Christina Lake, the step-daughter of George Rolfe who owned the property known as ‘Lyndoch’, near the mouth of the Hopkins River. Webb painted the early cottages at ‘Old Lyndoch’ using a photograph taken some time earlier. The painting was given to Dick Allan, the chauffeur in the employ of Florence Lake, Christina’s sister. Florence Lake owned and resided at Lyndoch after her parents’ death. Dick Allan’s son, living in Tasmania, acquired the painting and Les O’Callaghan obtained the photograph of the painting from him. Although this is only a photograph of an original painting, it is of some considerable importance as the painting has great historical significance and this is the only representation we have of it. The man in the photograph represents George Rolfe and the story of Rolfe and his ownership and development of the property of Lyndoch is an important one in Warrnambool’s history. The original by George Webb is also an important work of art in its own right.This is a colour photograph of a painting. The frame of the original painting can be seen at the bottom of the photograph. The photograph is in on old frame which has two wooden edgings with the outer one having an ornate gold plaster edging and an inner one with a gold velvet insert next to the glass. The ornate gold plaster has a piece missing near the top left hand corner. The photograph is set into a gold-coloured wooden frame inside the glass. The photograph is mounted onto cardboard and covered with cardboard at the back with a small piece of wood attached (from the original frame). The backing is nailed on. lyndoch, george webb, george rolfe

These items are a collection of paints etc for those artists wanting to produce lustroleum and crystoleum works of art in the late 19th century and early 20th century. These works of art using lustroleum and crystoleum which were mainly metallic paints, were produced on a variety of surfaces, including glass, wood, tapestry, china and ivory. These items have no known provenance but it is known that lustroleum and crystoleum painting were popular pastimes with women in Warrnambool in the late 19th century. There are several records of women advertising classes in lustroleum and crystoleum painting in the 1880s and 90s in Warrnambool. One was these was Annie Newcombe, an art teacher who offered classes at her studio in Timor Street in 1884.This is a metal tin with a metal catch and a hinged lid. The tin contains 10 items - four glass bottles of Lustroleum, one glass bottle of gold paint, one glass bottle of purple metallic paint, one tube of green paint, one china bowl with a lip for pouring, one dish to hold paint with a broken base and one small dish for holding paint. There is also a sheet of paper containing information on the Crystoleum Company of London advertising that they supplied photographs, price list for classes, silk frames and crystal glasses. On bottles: ‘Lustroleum Registered’ ; ‘H. Bessemer, Gold Paint’, ‘Purple’, On tube: ‘Winsor & Newton, Chrome Green, Vert Anglais, London England’ crystoleum and lustroleum painting, warrnambool, paint set, artist's paints

This is an early school reader and the name, ‘B. Morris’, suggests that it belonged to Bruce Morris, the editor of the Warrnambool Standard newspaper from 1946 to 1968. Bruce Morris was prominent in Warrnambool as the writer of a great number of historical articles in the Warrnambool Standard and as a passionate supporter of regional Victoria. He was the son of Frederick and Sarah Morris and the grandson of George Lance, prominent in 19th century Warrnambool as a plumber, inventor, musician, artist and writer. Lance is regarded as the founder of the Warrnambool Art Gallery. Bruce Morris helped to establish the Warrnambool Rostrum Club. This book is of interest because it is an early 20th century example of a school reading book. If it belonged to Bruce Morris then it is of greater interest. Bruce Morris rates with Richard Osburne, Edward Vidler and Henri Worland as a significant promoter of, and writer on, Warrnambool’s history. This is a soft cover book of 16 pages. It has a pinkish-red cover with a black and white illustration of The Three Bears story on the front cover and the titles in black print. The back cover has advertisements for other books by the same publisher (Macmillan and Co.). The inscription and some other writing on the front cover are handwritten in blue ink. The cover is a little faded and has partly come away from the pages. ‘B.Morris’ bruce morris, history of warrnambool

This is a book produced by Rex and Bernice Battarbee and contains reproductions of aboriginal art work, including the work of several of Albert Namatjira’s children. Reginald (Rex) Battarbee (1893-1973) was the son of George and Mary Battarbee who lived in East Warrnambool at a property called ‘Skiddaw’. Rex’s sister, Florinda was a local artist who was his first teacher of art. Rex became a well-known artist, depicting mainly the Central Australian landscape. He is credited with discovering and fostering the artistic talent of Albert Namatjira, the best-known of the early Australian aboriginal artists. This is one of the few mementoes we have of the artist Rex Battarbee who was born in Warrnambool and spent his early years in this city. This is a hard cover book with the pages unnumbered. The cover is brown with colour reproductions of two aboriginal paintings on the front and back cover. The printing on the front cover is in yellow and white lettering. The book contains written text and many reproductions of aboriginal paintings. The inscription on the first page is handwritten in black biro. ‘L. Durrant, From Russ, May 1979’. rex battarbee, aboriginal art, albert namatjira

This booklet is a catalogue of most of the works of art that were displayed in an exhibition in the Warrnambool Art Gallery in 1994. It was described as ‘a celebration of artists committed to living and working in country Victoria’. It was intended to be the first of similar exhibitions and was initiated by the Warrnambool-based Cultural Association of the South Coast and Western Plains. The Warrnambool Art Gallery was officially opened in 1886 though the local Mechanics’ Institute and Museum had been collecting works of art before this date. When the Mechanics’ Institute building was taken over for Council use in 1963 the Art Gallery ceased to exist and the works put in storage. The Gallery re-opened in temporary premises in 1971 and the present Warrnambool Art Gallery, a memorial to Fletcher Jones, was opened in 1986 in Liebig Street. This is an interesting catalogue as it is one of the few examples we have of the work of the Cultural Association of the South Coast and Western Plains. This Warrnambool-based group operated for a short time only in the 1990s.This is a soft cover booklet of 40 pages. It is bound with metal staples. It has a white cover with black printing and reproductions of black and white works of art on the front and back covers. The booklet contains reproductions of the works of art (in black and white) by 34 south west Victoria artistswarrnambool art gallery, history of warrnambool

Grassmere Park is a property on the outskirts of Warrnambool at Wangoom. The scenes depicted are of historic buildings such as Star of the West in Port Fairy, the Koroit Post Office and various buildings at Flagstaff Hill in Warrnambool. The drawings are all signed by John Moir a local artist.Social significance. A common item with local views with which local people would be familiar.A set of 11 square cream card coasters with black pen drawings of local scenes with text underneath the drawings.Greetings from Grassmere Park Angus and Murray Grey Stud. John Moir Peter Moir. Wangoom Victoria Australia telephone 055)671037warrnambool, grassmere park, wangoom,

These medallions were awarded to school children to commemorate the 50th anniversary of the Commonwealth of Australia. This winning design depicts the seed caster with the seven ears of wheat representing the seven states and territories of Australia. The artist was John Wolfgang Elisher who was an Austrian sculptor.An item which was presented to all school children in 1951 to mark the occasion of 50 years of the Commonwealth.Bronze metal with image of seed broadcaster and dates in relief on front and inscription, seven ears of wheat and star burst on the reverse. Metal hook at the top. There are six of the identical medallions.1901-1951, Fifty years Commonwealth of Australia.warrnambool, commonwealth of australia, schoolchildren's medallion, 1951 children's medallion,

Robert Ulmann who was born in Switzerland, came to the Western District in the 1970’s and was well known in the district for his paintings of wildlife. He also has some sculptural pieces around Warrnambool. He died suddenly in 1999. This piece is a sketch of the Flagstaff precinct.A local scene sketched by a local well known artist.Tan paper with cream drawing. The drawing is a scene of Flagstaff Hill with cannon in the foreground and lighthouse keeper”s cottage and lighthouse in the background. In brown timber frame with white edge. Signed by Robert Ulmann 1975.warrnambool, robert ulmann, ulmann painting, flagstaff hill print,

The following extract written by Karen Tyers Warrnambool Family history group explains the journey and background of the Warrnambool Pioneer Board. Warrnambool is fortunate to have a photographic record of some of its pioneers. They are commemorated on the Pioneers’ Board. The Pioneers’ Board with its elaborate frame measures approximately 2 metres by 3 metres and holds 204 photographs of Warrnambool’s early pioneers. In 1907 Edward Vidler, secretary of the Warrnambool & District Progress League and Chamber of Commerce and Industry, invited descendants of those who arrived in Warrnambool before 1860 to send photographs of their pioneer ancestors to commemorate the Diamond Jubilee of Warrnambool’s foundation in 1847. A charge of £1 for each photograph was set. Lillian Foyle of Foyle’s photographic studio, was engaged to colour the photographs and undertake the associated artwork. By December 1907 the honour board was on exhibition in Bernard’s Gallery, Melbourne. Unfortunately Vidler left Warrnambool in 1907 with the honour board expenses unpaid. The Progress League refused to take responsibility for the debt and the honour board remained with Foyle’s Studio for 17 years. In 1922 subscriptions were called for and £43 16s 6d was acknowledged. After a final determined effort was made in 1924, the £100 debt was collected and Charles Foyle, Lillian’s brother, accepted settlement of the debt. On 2 May 1924 the honour board was moved from Foyle’s Studio to the Art Gallery. For many years the honour board was in the entrance passage to the public library. After the library was demolished in 1975 the pictures were removed to the Art Gallery where it was restored by the Director of the Art Gallery, Jack Welsh. The board was later stored in an empty front room at Murweh and the dismantled frame stored in an outbuilding. By 1982 the honour board was in the foyer of the City Council offices. During the renovations of the interior of the council offices in 1997 the honour board was moved to the library where it remained until moved to HeritageWorks in March 2014. For a full list of names go to http://www.warrnamboolhistory.org.au/warrnambool-history/pioneers-board/ The Warrnambool pioneer Board is one of those rare items which can claim significance on most if not all of the primary and comparative significance criteria. As a collection of early pioneers in the district it provides a valuable resource for historians and researchers. It gives light to a social scene in the district much of which can be verified from diaries and other items held by the historical society and also available on websites such as Trove. It has relevance to this day with many family historians enquiring of people included on the board. The collation of the board is a story of great interest in itself. While there are images of 204 men on the board the only reference to a woman is Lillian Foyle the artist who was responsible for much of the artistic work on the board. It compares well in size and quality with a number of montages, and collations of images from around the state of Victoria. It is by no means a complete list of pioneers of the district but there are many well- known ones included. They come from a wide range of backgrounds and as such presents a cross section of our earliest settlers in the district from 1840's to 1860’s.Cardboard folder with black and grey mottled cover with 3 metal studs along spine and white paper label with the word negative printed in black on front cover. Inside is a printed index of pioneers with reference relating to board number and negative number. There are three loose strips of negatives and 20 pages with pockets to hold strips of negatives. Up to page 13 have negatives strips inserted. There are 15 large and one small print of some of the pioneers from the board.This negative album was prepared by John A Welsh MBE JP Dip M Eng Director Warrnambool Art Gallery 1/7/1975 to 11/12/1977.There are a number of grey lead notations possibly corrections against some of the names in the index.warrnambool, warrnambool pioneer board, jack welsh, warrnambool art gallery, pioneers of warrnambool, foyles photography, lillian foyle, bernard framers, w mcaree,

This book gives details on the lives of the artists Rex Battarbee and Albert Namatjira. It is written by Martin Edmonds. The book explores the relationship between the two artists and the effect on each other of artistic philosophies and techniques, described as each being ‘a catalyst and a primer for the other, each shimmering alongside the other’. This book is of considerable interest as Rex Battarbee was born and reared in Warrnambool and his older sister Florinda was his first art teacher and an important influence in his artistic development. She was also a talented artist and a well-known art teacher in Warrnambool and many of her works survive. The Warrnambool Art Gallery holds works by both Rex and Florinda Battarbee, with the works of the latter belonging to the Warrnambool and District Historical Society. The Battarbee family members were prominent in Warrnambool business and artistic circles at the end of the 19th century and the beginning of the 20th century. Rex’s father was a shopkeeper and had a bacon and ham curing business and the family lived in East Warrnambool at ‘Skiddaw’. This is a soft cover book of 342 pages. It tells the stories of the artists Rex Battarbee and Albert Namatjira. It contains a Contents page, an Introduction, ten chapters, a Note on Sources and Acknowledgements. The front cover has a black and white photograph of Battarbee and Namatjira. The text includes several black and white photographs. rex battarbee, albert namatjira, florinda battarbee, history of australian art, history of warrnambool, warrnambool art gallery

This is a book of 266 pages. It It has a buff-coloured cover with 3 photographs and black printing. The pages contain printed text, maps, illustrations and photographs. non-fiction This book tells the biography of Pompey Austin an indigenous framlingham aboriginal mission, pompey austin

This is a book of 85 pages. It has a blue cover with gold lettering on the front cover and the spine. It contains printed text, reproductions of artistic works - sketches, lithographs and jottings. non-fictionReproduction of an early Victorian artist's workvictorian colonial art, william strutt

This is a book of war cartoons. The cover has two cartoons in colour and black and white and red and black printing. The spine is slightly torn.The pages contain comic sketches in colour, black and white and brown and white and sepia tones. Some pages at the front are of a shorter width than the other pages. The pages are stapled.fictionWorld War 11 War Cartoons by Armstrongworld war two, world war two cartoonist armstrong

This is a book of 48 pages. The cover has a cream background with a red strip on the front side cover. The front cover has a sketch in grey, black, white and red and printing in red and black. The pages are stapled and have an adhesive tape binding added to the outside spine. The pages contain sketches in black, white and grey shading.fictionWorld War Two Armstrong Cartoonsworld war two cartoonist armstrong, world war two

This is one of a series of plaques which commemorated some of the winners of the Grand Annual Steeplechase which is held each year in Warrnambool. It is the longest race at a public course in Australia.The first Grand Annual was held in 1872 as the Warrnambool Handicap Steeplechase. This series of plaques were painted by local artist Leslie Lamey and were originally in the members enclosure at the Warrnambool Racecourse. This plaque notes the win of horse Ranti but unfortunately we have no further details at this stage.These items relate to a significant part of Warrnambool's sporting and social history. Painted white rectangular tin plaque with rolled edges with painting of jockey's silks and cap. The silks are yellow sleeves with black bront and back. The cap is alternating yellow and black panels. with yellow brim.Ranti in red texta on back of plaque.grand annual steeplechase, warrnambool, ranti winner of grand annual

This is one of a series of plaques which commemorated some of the winners of the Grand Annual Steeplechase which is held each year in Warrnambool. It is the longest race at a public course in Australia.The first Grand Annual was held in 1872 as the Warrnambool Handicap Steeplechase. This series of plaques were painted by local artist Leslie Lamey and were originally in the members enclosure at the Warrnambool Racecourse. Why Fail won the Grand Annual in 1935 with jockey H Perrett . These items relate to a significant part of Warrnambool's sporting and social history. Primary Significance Criteria Painted white rectangular tin plaque with rolled edges with painting of jockey's silks and cap. The jockey silks have mustard yellow sleeves and cap with green front and back.Why Fail in black texta written on the back of plaque.warrnambool, grand annual steeplechase, horse why fail, jockey h perrett 1935

These medals were issued by the Town of Warrnambool in 1897 to commemorate the 60th anniversary of the reign of Queen Victoria of England. Walter John Hickford, the Mayor Warrnambool at that time, has his name on the medal. Walter Hickford (1855-1928) was a Warrnambool businessman, setting up a shop in Liebig Street in 1880, supplying the paint materials for householders, contactors, painters and artists. He also carried out decorative work in private homes, businesses and churches. Hickford was active in civic life in Warrnambool, serving as a Councillor from 1890 to 1903 and he was Mayor from 1895 to 1897.These medals are of considerable importance as they were produced for the Town of Warrnambool in 1897 to celebrate Queen Victoria’s Jubilee. They have both a local and a wider national significance.,1These two circular bronze medals have profiles of Queen Victoria as a young woman and as a crowned monarch on the reverse and the Warrnambool Coat of Arms on the obverse. Both have a punched hole with a metal ring on the top. .2 As above .3 These five circular medals, four of which are bronze and one brass are identical with those described above..1Queen Victoria 60th year of reign 1837 to 1897 obverse Town of Warrnambool W. J. Hickford Mayor .BY THESE WE FLOURISH Reverse .2 As above .3 As for .3 above Note one of the bronze ones has a fabric cord attached through a hole at the top.medals, queen victoria 60th anniversarry, warrnambool, mayor john hickford

This is a Warrnambool Technical School badge of the 1920s and 30s. Warrnambool Technical School was established in Timor Street in 1913. The senior section was later called Warrnambool Technical College and then Warrnambool Institute of Advanced Education. The latter institute moved to Sherwood Park, Warrnambool and became the present-day Warrnambool campus of Deakin University. Warrnambool Technical School moved to Caramut Road, Warrnambool and is today known as Brauer College. The badge was donated by Mirth Marfell, the daughter of Henry and Helena Marfell. She was born in Warrnambool in 1919. Her grandfather, John Marfell, a Warrnambool hay and corn dealer and miller connected to the Warrnambool Co-operative Milling Company, was prominent in community and civic affairs in the town. Mirth Marfell completed her nursing training at the Warrnambool Base Hospital and served in the Australian Army Nursing Service in World War Two for five years. She then became the first Australian nursing organizer for the Victorian Royal College of Nursing. This badge is of interest, firstly as a memento of Warrnambool Technical School from the 1920s and 30s and secondly because it came from Mirth Marfell, a Warrnambool person who had a distinguished nursing career..1 Shield shaped metal and enamel badge with green border including text enclosing a silver area featuring raised images of a torch, scales, compass, hammer, nails, artist's palette, brushes , a bar and the numbers 192. A pin clip is on the reverse .2 Circular metal and enamel badge with a golden edged green border surrounding a bronze coloured centre with a stylised golden edged scarlet torch and three horizontal bars of varied length. A pin clip is on the reverse..1 WARRNAMBOOL TECn SCHOOL LABOR TO EFFICIENCY .2 WARRNAMBOOL TECHNICAL SCHOOLwarrnambool institute of advanced education, warrnambool technical school, brauer college, warrnambool co-operative milling company, victorian royal college of nursing, history of warrnambool

This card was presented to Bruce Morris on his retirement as editor of the Warrnambool Standard newspaper in 1968. The signatures on the card are those people who worked closely with him (the editorial staff?) on the newspaper. Bruce Morris (1903-1986) was the grandson of George Lance, well-known in Warrnambool in the 19th century as an artist, writer and musician who was deeply involved in the establishment of the Warrnambool Art Gallery. Bruce Morris was the staff training superintendent at Myer in Melbourne during the 30s and 40s. In 1946 he became the editor of the Warrnambool Standard and remained there until 1968. For 22 years he observed and recorded the events that affected the lives of the local people. He was noted for his historical articles (mostly with the initials BBM) and continued to write these articles for the Standard until the year he died. This card is of interest as a memento of Bruce Morris, one of Warrnambool’s important historians. This is a buff-colured card folded over to make a leaflet with a sheet of white paper folded over in the middle of the leaflet. The front cover has gold ornamentation and gold printing. There are a printing of a verse and eleven signatures in blue on the inside paper. ‘Ron Oakley, E. Fitzhenry, Eileen T, Horne, Don Burnett, Mac Jeffers, Peter Robertson, Terry Daffy, David Ferguson, Bruce Johnson, Ron Armstrong, Jim Ewing.’brue morris, warrnambool, warrnambool standard editors, history of warrnambool

This is one of a series of eighteen plaques which commemorated some of the winner of the Grand Annual Steeplechase which is held each year in Warrnambool. The first Grand Annual was held in 1872 as the Warrnambool Handicap Steeplechase. Buxton was the winner in 1963. Local racing steward of 50 years experience, Mr Frank Beattie, ranks the performance of buxton as among the best. He won the Brierly steeplechase on the Tuesday of the 3 day race meeting and won the grand Annual two days later ridden by jockey Noel Cole. This series of plaques were painted by local artist Leslie Lamey and were originally in the members enclosure at the Warrnambool RacecourseThese items relate to a significant part of Warrnambool's sporting and social history..1 Painted white rectangular tin plaque with rolled edges with painting of jockeys silks and cap. The colours are green brown and yellow in opposing squares on the front with brown sleeves. The cap is yellow. Six holes are around the edge. .2 Galvanised rectangular brass plate with engraved black text .1 Buxton and Hoadsville in red and black texta on back of plaque. .2 Mr & Mrs K Bullock BUXTON Winner of the Grand Annual Steeplechase 1963.warrnambool, grand annual steeplechase, noel cole, buxton

This is one of a series of eighteen plaques which commemorated some of the winner of the Grand Annual Steeplechase which is held each year in Warrnambool. The first Grand Annual was held in 1872 as the Warrnambool Handicap Steeplechase. Barongarook was the winner in 1964. This series of plaques were painted by local artist Leslie Lamey and depict the colours of the winning jockey.They originally were in the Members' enclosure at the Warrnambool Race course.These plaques have local sporting ,historical and social significance..1 White painted metal plaque with painting of jockey silks , White jacket front with red Maltese cross and blue sleeves and cap. dabs of black paint .2 Silver metal plaque with engraved black text. .1 " Barongarook" in red texta on back of plaque. .2 Mr R C Williams Barongarook Winner of the Grand Annual Steeplechase 1964," engraved in black text.barongarook, warrnambool, grand annual steeplechase

This is one of a series of plaques which commemorated some of the winners of the Grand Annual Steeplechase which is held each year in Warrnambool. It is the longest race at a public course in Australia.The first Grand Annual was held in 1872 as the Warrnambool Handicap Steeplechase. This series of plaques were painted by local artist Leslie Lamey and were originally in the members enclosure at the Warrnambool Racecourse. This plaque notes the win of horse Hoadsville in 1966These items relate to a significant part of Warrnambool's sporting and social history.2 Galvanised rectangular metal plate with engraved text, in filled with black.Mr & Mrs K Bullock's Hoadsville winner of the Grand Annual Steeplechase 1966.hoadsville, grand annual steeplechase, warrnambool may races

This is one of a series of eighteen plaques which commemorated some of the winner of the Grand Annual Steeplechase which is held each year in Warrnambool. The first Grand Annual was held in 1872 as the Warrnambool Handicap Steeplechase. Galleywood was owned by local people and trained by local trainer Jocka Baillie. Galleywood was a crowd favourite of the 1980's winning two Brierly Steeplechases and the Grand Annual in 1986. This famous local hero died at the age of 30 and is buried at the Warrnambool course and commemorated in the mounting yard. This series of plaques were painted by local artist Leslie Lamey. These items relate to a significant part of Warrnambool's sporting and social history..1 Painted white rectangular tin plaque with rolled edges with painting of jockeys silks and cap. The colours are green front with orange (faded) sleeves with blue band. The cap has pink lines. Six holes are around the edge. .2 Galvanised rectangular brass plate with engraved black text .1 Galleywood written twice on back of plaque. .2 Grand Annual Syndicate GALLEYWOOD. Winner of the Grand Annual Steeplechase 1986warrnambool, grand annual steeplechase, galleywood

This is one of a series of plaques which commemorated some of the winners of the Grand Annual Steeplechase which is held each year in Warrnambool. It is the longest race at a public course in Australia.The first Grand Annual was held in 1872 as the Warrnambool Handicap Steeplechase. This series of plaques were painted by local artist Leslie Lamey and were originally in the members enclosure at the Warrnambool Racecourse. This plaque notes the win of horse Spring Fortune (NZ) in 1987. These items relate to a significant part of Warrnambool's sporting and social history..1 Painted white rectangular tin plaque with rolled edges with painting of jockey's silks and cap. The colours are green and blue in opposing squares on the front with blue sleeves. The cap is green with white lines. . Six holes are around the edge. .2 Galvanised rectangular metal plate with engraved text. .1 SPRING FORTUNE .2 Messers K.T. MYERS J. McLEOD & T.F. DANAHER SPRING FORTUNE (NZ) WINNER OF THE GRAND ANNUAL STEEPLECHASE 1987 warrnambool grand annual steeplechase, spring fortune

This videotape has material related to the annual arrival in Warrnambool’s coast (mainly at Logan’s Beach) of Southern Right Whales. These whales come annually to the Western District coastline about May and stay until about October. and some calve at Logan’s Beach – hence the name Logan’s Beach Whale Nursery. The whales have become an important tourist attraction in the area. Most of the whales return to the area regularly and have been named from their particular markings. Wilma the whale was a great favourite and was seen about every three years in Warrnambool but is now appearing in other parts of Australia. The tape is dedicated to Robert Ulmann who was a well-known artist and conservationist in the Warrnambool region. He did much to ensure the whales received protection and publicity in the Warrnambool environment. This tape is now in an outdated format and will be transferred to a more appropriate form as the material in it needs to be preserved. The whale migration to Warrnambool is a significant natural history event and material from the 1990s is important. This is a videotape in a black case with a white label with black printing pasted on. The outer box is white with a white label with blue and black printing. An image of a whale is on the outer label. ‘Warrnambool’s Winter Visitors’ ‘Update 98 Wilma Returns 7thJune 1999’ ‘This video dedicated to the memory of Robert Ulmann’ ‘Canya Dantz perform the song, Warrnambool Whale Wash’ whales in warrnambool, robert ulmann

One of these items is an 1894 letter written by the artist Tudor St George Tucker regarding one of his artworks in the Warrnambool Art Gallery collection. The other eight letters were written between 1889 and 1897 and document the controversy of the time when the authenticity of the art work by Louis Buvelot, The Waterhole at Coleraine, in the Warrnambool Art Gallery collection, was questioned. The Warrnambool photographer Daniel Clarke was querying the authenticity of the art work in the Art Gallery but evidence in the form of letters from George Folingsby of the National Gallery in Melbourne and from Louis Buvelot’s widow, Caroline-Julie, confirmed that there was confusion over the number of art works that Buvelot had executed with a similar theme. It was eventually proven that the Buvelot art work was genuine. The public spat was largely played out in the Warrnambool Standard but these original letters fill in the gaps of our knowledge on the subject. The letters came into the possession of George Lance who was involved with the Warrnambool Mechanics Institute /Art Gallery in the 1880s and 1890s and was the secretary of these institutions from 1892 to 1901. The letters were then handed on George Lance’s grandson, Bruce Morris, a well-known Warrnambool historian who was the editor of the Warrnambool Standard from 1946 to 1968. These letters are of great significance as eight of them are the original letters written in connection with the 19th century controversy in Warrnambool over the authenticity of a Louis Buvelot art work owned by the Warrnambool Art gallery. .1 A sheet of paper folded in two containing three pages of writing handwritten in black ink and pasted on paper. .2 A sheet of paper folded in two containing one page of writing handwritten in black ink and pasted on a sheet of paper. .3 A sheet of paper with handwriting in black ink pasted on a piece of paper. .4 One sheet of paper folded in two to make four pages of writing, handwritten in black ink. .5 .6 .7 A sheet of paper with handwritten material in black ink pasted onto another sheet of paper .8 A sheet of paper folded in two with three pages of handwritten material pasted onto another sheet of paper. .9 A sheet of paper folded in two with one page of handwritten material pasted onto another sheet of paper. tudor st. george tucker, artist, louis buvelot, artist, george lance, warrnambool, daniel clarke, warrnambool, george folinsby, melbourne, history of warrnambool