Installed as part of a stage of renovations to the War Memorial Park in eary 2002. This sign establishes a connection with the First World War by way of the painting "Menin Gate at Midnight". (NL 144) Since this photograph was taken (date unknown) the information panel has been restored and re-erected by staff of the Shire of Nillumbik who replicated the wooden side frame pieces with the same wood-turn design as seen here in the original. Colour photographMENIN GATE AT MIDNIGHT Will Longstaff, 1927 Oil on canvas, Size 135cm high x 254cm wide Collection: Australian War Memorial The artist Will Longstaff was born in in Ballarat in 1879 and died at Littlehampton, Sussex, UK, 1953. Will Longstaff for many years lived in Eltham, his son Tommy, attending school at Kangaroo Ground. As an Official War Artist, will Longstaff depicted in his alegorical painting the Menin Gate Memorial, Ypres, Belgium. The Memorial unveiled on 24th July 1927 honours by name over 50, 000 allied soldiers who fell in the Great War and have no known graves. The names of 6,208 men of the first Australian Imperial Force (A.I.F.) are listed within the Memorial on stone tablets. The painting held huge emotional appeal to Australians when it arrived from England in 1928, attracting an estimated one million viewers, many of whom interpreted the field of red poppies in the foreground as the spirits of the dead rising from their unknown graves. The painting is to be found in the Australian War Memorial, Canberra.menin gate at midnight, william longstaff, kangaroo ground memorial, information panel, shire of eltham war memorial

Hardback; xi, 52 p. : ill. (some col.) ; 30 cm.ISBN 085561272X clifton pugh, artists

This book gives information on 1,100 War Memorials in Victoria. It was compiled by Bradley, Christey et al and produced for the Returned and Services League of Victoria. War Memorials were established in most settlements in Australia after World War One and added to after World War Two and succeeding conflicts. The number of War Memorials reflect the historical importance of Australia’s involvement in world wars and because of our distance from the battlefields they have become sacred places in Australia – de facto war cemeteries. The book includes information on the Warrnambool War Memorial and those in our area. This book is of interest as it gives details on War Memorials and includes all those in the Western District of Victoria. It will be useful to researchers of social and military history. This is a hard cover book with a blue cover and gold printing on the spine. The dust cover is dark blue with a colour sketch of the Portland War Memorial and white printing on the front cover and an outline of the map of Australia on the back cover. The book has 240 pages, black and white and colour illustrations, a Foreword, Dedication, Acknowledgements, Introduction, Contents, Bibliography and Index and information in alphabetical order of the War Memorials in Victoria. It also has reproductions of 20 oil paintings of Victorian War Memorials by Dacre Smyth.Spine: ‘War Memorials of Victoria’ R.S.L. Victorian Branch’ Front Cover: ‘War Memorials of Victoria, a Pictorial Record’ war memorials in victoria, warrnambool war memorial, history of warrnambool

Blue and gold hard cover with stylized figure of life saver on front cover with multi coloured blue cover on back with small boxed copy of front cover figure. Taken from painting Beltman and Co by Brian St Alban Smith 1958. 548 pages followed by lists of award winners both individuals and clubs. Title and authors in dark blue text.History of Life Saving Victoria for over 50 yearswarrnambool, surf life saving victoria, surf championships, shark attacks, surf boats

Bicentennial/Heritage Week Display, "The Eltham Tradition", Eltham Shire Office, 17-22 April 1988. In an interview in the Australian Women's Weekly, (29 April 1970), months before his death in October 1970, Ian Hassall discusses his life with author Maureen Bang. "Ian Hassall can look back on his life with few regrets. He believes like his friend author Alan Marshall, that when you're old you should be able to "look back on life as a book with lots of pictures". Artist Ian Hassall has a lifetime of pictures". Colour photographactivities, alan marshall, eltham shire office, heritage display, heritage week, ian hassall

Acquired in Fort Worth, Scotland in August 2019.Allied Memorial to World War II commandos in locations where commando training was undertaken.A4 size framed paintingPrinted by Mark Leggett

Cyril Henry Woodford Kett FBOA FSMC (1890-1971) was one of the five people who signed the Memorandum and Articles of Association of the Australian College of Optometry in 1939. He was a councillor of the College from 1940 to 1970 and First Vice President 1944 to 1947. He was made an honorary life member of the College in 1954. He donated numerous items of historical interest to the College that provided the foundation of the Museum which now bears his name. It was painted by another optometrist, John Nathan.This painting is significant to the College as it is one of only ten portraits in oils of individuals who have been leaders in the development of the College.This framed oil painting shows Mr Cyril Henry Woodford Kett FBOA FSMC (1890-1971),Councillor and Vice President of the Australian College of Optometry, an important figure in Optometry in Victoria. It was painted in 1980 by another optometrist, John Nathan,and is signed by the artist at lower right corner: 'John Nathan'.Signed by artist at lower right corner: 'John Nathan'. Plaque on frame reads:'Cyril H W Kett FBOA(Hons) FSMC FVOA c1890-1970/ Councillor of the College 1940-1970/ Vice President 1940-42, 1944-47, 1948-50, 1954-70/ Chairman of Council 1944-1947/ One of the five signatories to the original Memorandum of Association of the Victorian College of Optometry'.optometry, painting, oil painting, portrait, cyril h w kett

Norma Kett was a resident of Ringwood and a member of the local Artists Society. She regularly diplayed paintings in local exhibitions .Small oil painting of gum trees, creek and hills. Australian possibly Victorian. Framed in multilayered gold and buff coloured wood. The name ?Accacia Creek in pencil on back of painting.Signed Norma Kett

Newspaper article from Ringwood Mail page 9 on 12th May 1998

Image of a Charles Conder painting on front of soft covered book titled The Artists' Camps: Plein Air Painting In Melbourne 1885-1898. FOREWORD by Margaret Plant - Department of Visual Arts, Monash University. The paintings of the 'Heidelberg school" are the best loved group of works in Australian art. The affection is linked in the national mind with a recognition that the authentic Australian landscape had been discovered and colonial bonds broken. The painting activity of the 1880s and 1890s was by no means confined to Heidelberg. Helen Topliss painstakingly presents the variety of sites around Melbourne, in the bush and on the coast, reconstructing their original character and the history of their accessibility. The major figures are well known — Roberts, McCubbin, Streeton and Conder — but there were a number of 'minor' artists associated with the various painting spots that have been too long neglected. A research programme is here initiated in the hope that some of these figures might be more fully returned to us. The restoration of the sites provokes a more extensive roll-call of artists involved in the plein air phenomenon. Various expressions of nationalism in the late nineteenth century have been accorded attention: the painters contributed in varying degrees. But it is, finally, the quality of the painting, the freshness, the particularity of nuance, the calculated aesthetic angles that have governed response and inspired affection. The elegant relaxation themes of many of the paintings have in fact been overlooked in the intellectualization of the quest for 'national identity'. The orchards and the beaches, the ladies promenading a la mode on the beach at Mentone or in the grasses of Box Hill are as important to our artistic tradition and social history as the shearers of rams.

Image of a Tom Roberts painting on front of soft covered book titled The Artists' Camp at Box Hill - Eleanor Finlay, Marjorie MorganFOREWORD by William Dargie Kt., C.B.E., FRSA (London) FRAS (NSW) As one born between two worlds I find it difficult to identify wholly with either Australian art of the late 19th and early 20th centuries or the infinitely varied styles of today. At the beginning of the 1930s, when I first began to take any sort of interest in art, I had the natural feeling of youth that anything that had happened thirty to forty years ago was already far down the dark and backward abysm of time. As for today, all that one of my generation can do is to enjoy what is enjoyable and avert one's eyes and close one's ears against the rest. This is the time of life one realizes that distaste, as well as taste can be cultivated. Well, youth repeats itself in each generation and among the young there will always be .some determined and dedicated to the making of new images of the physical world. All artists throughout history have shared this common experience. All have remembered the suddenly-formed friendships, the sketching expeditions and camps, the first exhibitions, the formation of groups, the 'manifestos' - these last to return in later life all too often as embarrassments - but above all, the enthusiasm. 'Bliss was it in that dawn to be alive but to be young was very heaven'. Thus we can be time-travellers back one hundred and six years to that first plein-air camp set up by Roberts, McCubbin and Abrahams on part of David Houston's property at Box Hill. This was indeed the prelude to all that followed: Mentone and the meeting with the young Streeton painting on the rocks, and Heidelberg later.

The illustrations in this book are attributed to EULALIE. Eulalie ( Eulalie M. (Eulalie Minfred Banks), 1895-1999) was born in London and illustrated more than 50 children's books as well as cards, calendars and even murals. She died at 104 and was still painting into her 90's. This book is a children's story book and has been well used. It seems to be aimed at very young children.This book is a typical example a child's story book of the 1940's.A children's story book with large colourful illustrations. It is the story of a young boy's visit to London zoo and has illustrations of Australian animals. The cover and first pages are missing.book-children's eulalie-banks

The Argus was a morning daily newspaper in Melbourne that was established in 1846 and closed in 1957 and was considered to be the general Australian newspaper of record for this period. Widely known as a conservative newspaper for most of its history. George VI became King after his brother, King Edward VIII, abdicated in 1936. The coronation of King George VI and Queen Elizabeth as King and Queen of the United Kingdom and the Dominions of the British Commonwealth and as Emperor and Empress of India took place at Westminster Abbey, London, on 12 May 1937. King George ascended the throne upon the abdication of his brother, King Edward VIII, on 10 December 1936, three days before his 41st birthday. Edward's coronation had been planned for 12 May 1937 and it was decided to continue with his brother and sister-in-law's coronation on the same date. This newspaper provides a detailed pictorial representation of the coronation of King George V1 in London on 12 May, 1937. The commonwealth countries, including Australia joined in the celebration. Saving an item dedicated to the royal family is typical of the general feeling of respect and admiration felt by the rural communities towards the British Royal Family.A special edition souvenir newspaper which is a forty page pictorial commemorating the Coronation of King George VI. It is titled "THE ARGUS and AUSTRALIAN CORONATION SOUVENIR". On the front cover is a coloured painting /print of a horse parade/procession with banners printed by "ROWED". In the bottom right corner is the cost - 1/-. It contains a complete record of the ceremonies as well as large portrait photos of the royal family designed for framing. argus-newspaper george-v1 coronation

These hand painted bowls were the work of Ethel Mary Ellen Hose who married Albert Ernest Uebergang in 1917, who was an uncle of Ray and Joyce Uebergang. After leaving the family farm at Cudgee the couple moved to Surrey Hills in Melbourne. [Ref: p.228 The Uebergang Families in Australia] The donor, Heather Mclean, daughter of Charles Henry Uebergang, is a cousin of Ray and Joyce Uebergang. A visitor to the museum in March 2018 advised that the bowl with no 'U' was a replacement piece. It is unsigned and undated.This fruit set indicates the work of amateur china painters and is in pristine condition.Black hand-painted fruit set consisting of a large bowl and six small bowls. Each bowl has an individual fruit design and a gold-painted letter 'U' except one small bowl which only has the fruit design. The bowls have a gold rim.[on base] E M Uebergang/ 8/5/1923 [except for bowl with no 'U']uebergang, ethel mary uebergang, china painting, crockery, allansford, food & drink consumption

This oil painting is in a handmade, carved frame, dates back to the period of the old Warrnambool Museum and Art Gallery. The two-masted, sail-and-steam-powered ship has the sails and bow shape of a tall clipper ship plus the extra power of steam. It dates to the transition between the clipper ships with their billowing sails and the steam-powered ships, which happened in the late 19th to early 20th century. The flag flown from the stern is that of the British Merchant Navy that traded around the world to transport cargo, and later passengers, from one destination to another. The painting was originally catalogued as the "S.S. Warrnambool" although it has a different design. It was also attributed to the ship portrait painter, the renowned C.K.M. - Charles Keith Miller - but differs from his style. Further research is being carried out at this time. In 1966, between the closure of the old Warrnambool Museum and Art Gallery and the distribution of the painting to Flagstaff Hill, this painting was repaired by David Heysen, son of the German-born artist Hans Heysen OBE. David was born in Hahndorf (called Ambleside for a short period of time), South Australia, married Lyly Refshauge from Melbourne, and they raised a family on their property in Kalangadoo, near Penola, in South Australia.The painting's frame is an example of handmade carving and joinery created in the late 19th century. The artist has depicted the image of a historical sail-and-steam ship of the type in which cargo was traded across the world, including to and from Australia. Vessels such as this also brought migrants to Australia.Painting, oil on board, in hand carved wooden frame with floral and geometric pattern, inner border painted gold. Image of a two-masted sail and steam ship, sails raised, black funnel emitting smoke. Hull is black with white horizontal stripe and white trim around sides of deck. Three lifeboats are visible. Bow is ‘clipper shape’ with what appears to be a figurehead. A red ensign flag flies at the stern and a blue and red flag is attached to the mainmast. The frame has been assembled using Mortice and Tenon joints, one of which is exposed on the back, lower right corner. Chandelier chain has been attached for hanging. There is no visible signature, date or title on the front of the painting. The back board has empty holes spaced around the edge and is held in place by staples. The visible surface has remnants of adhesive from two rectangular attachment s. There are two small white stickers attached, one with a hand written inscription. There are pencil and pen inscriptions. The painting is protected by cardboard with inscriptions in marking pen.On back board, written in the style used by the Warrnambool Museum and Art Gallery: - On white sticker, in pen “A-P31/1-74” - Pencil “A27/1883 / Artist CKM 1883 / Title SS Warrnambool / oil on board” Written in pen by the repairer - “Repaired & re-drilled – cleaned etc. / David Heysen 11/66” Written by Flagstaff Hill’s Cataloguer - Pencil “3031” On cardboard wrapper, in marking pen: - “S.S. Warrnambool / by / C.K.M. 1883” - “A-P/31/1-74” - “3031”flagstaff hill, warrnambool, shipwrecked coast, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, s s warrnambool, charles keith miller, charles miller, steam and sail ship, british merchant navy, slipper shaped bow, 19th century sea trade, warrnambool museum and art gallery, old warrnambool art gallery, hand carved picture frame, mortice and tennon picture frame, migrants, c.k.m.

This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. The subject of this painting is Cape Schanck, Victoria, which is on the east side of Port Phillip Bay. It includes the Cape Schanck Lighthouse and its Flagstaff. The Cape Schanck Lighthouse was built in 1859 and is the second of Victoria’s coastal lights. It is 21 metres tall and made from limestone. Unusually, its stairway is made from stone rather than wrought iron. Gilded tours are available to explain its use and significance to visitors. The lighthouse keepers at Cape Schanck kept records of the ships that sailed past them along Bass Strait; ship’s names, direction, time and date and so on. The details would also be passed on to shipping agencies, Harbour Masters and newspapers, which published Arrivals and Departures into and out of shipping ports such as Port Phillip Bay and the Port of Melbourne. INSCRIPTIONS “Mrs M Irby” (and on the Eagle Rock, Warrnambool, painting “980/Regency”) The inscription “Mrs M Irby” is on the back of both paintings but the significance of the inscription has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. NOTE: The artist’s spelling of the title “Cape Schank, Vic.” is incorrect. The location in this painting is named Cape Schanck. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of coast with cliffs, lighthouse and flagstaff, flying birds, high waves breaking onto rocks, blue sky with clouds. The title is painted on lower left corner and the Victorian artist, W. Langley-Taylor, has signed his name on lower right. The inscription on back is handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “CAPE SCHANK, VIC.” [NOTE: correct spelling is Schanck] Handwritten on back “Mrs. M. Irby” flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, painting, oil painting, cape schanck painting, w. langley-taylor, wall decoration, seascape of victoria's coast, art, mrs m irby, victoria's coast, pair of paintings

This painting is one of a pair of large paintings by W. Langley-Taylor in our collection. Currently, no further information has been found about the artist but research is ongoing. The subjects of these paintings are seascapes of notable areas of the coast on each side of Port Phillip Bay, south of Melbourne, Victoria. This painting is of Eagle Rock, Warrnambool, which is on the west of Port Phillip Bay. Eagle Rock is located about 400 metres west of Thunder Point, near Shelly Beach. The painting includes the rocky cliff formations looking east towards the Warrnambool Breakwater. The walk from the Thunder Point car park westwards to Shelly Beach has been popular over the decades with residents as well as tourists. Many photographs include the rock, with varying backgrounds depending on the angle of the camera. It is a popular dive site for locals and visitors, in calm weather! The site can be approached by boat from the open sea in favourable conditions, and there is plenty of native marine to be seen in this marine sanctuary. This part of Warrnambool’s rugged coastline is unprotected from the Southern Ocean with its wild icy winds and high seas. The painting’s crashing waves and the northerly direction of the smoke on the steamship sailing north show the effect of the southerly wind. INSCRIPTIONS “Mrs M Irby” and “980/Regency” The significance of the inscription “Mrs M Irby”, on the back of each of the two paintings, has not yet been discovered. Perhaps she was connected with the ship or shipping company “Irby”. A ship named “Irby”, built in Merseyside, Liverpool in 1881 by R & J Evans, Birkenhead. It was a four-masted iron ship built for the White Star Line. Henry Wilson Hewitt bought her in 1882, then later she was owned by Chadwick & Pritchard. In 1888 she was registered under the Irby Ship Co. Ltd. (trading as J. Joyce) in Liverpool. In 1912 Galgate Co. Ltd owned her. She traded between London, England and Australia, and is recorded as being in Melbourne and Hobart. In 1919 the Irby was destroyed by a mine when on her way to England. Or perhaps her name and the inscription in pencil “980/Regency” on the Eagle Rock Warrnambool, painting could be a delivery address for the paintings, perhaps an apartment in a hotel. This painting is significant geographically for its representation of the coastal scenery of Victoria, Australia. It is also significant as one of a pair of paintings of seascape, one at sites each side of Port Phillip Bay. The painting is significant historically as an example of late 19th and early 20th methods and materials used to construct a painting’s frame. Painting oil on board in a dark wooden frame, portrait orientation. Seascape of rock formation and cliffs, two yachts, a two-masted steamboat with red funnel and smoke, flying birds, high waves breaking onto rocks, blue sky with clouds, some tinted pink.. The title is painted on lower left corner and the artist, W. Langley-Taylor, has signed his name on lower right. The inscription on the back is a handwritten script in red crayon or thick red pencil. The board is held in place inside the timber frame with small, dark metal tacks around all sides. Metal eyes join the wire to the frame. Small round, dark metal nail heads are dispersed around the frame and there is a change of colour on both the board and the wood of the frame. Painted on front “W.LANGLEY-TAYLOR.” and “EAGLE ROCK, WARRNAMBOOL, VIC.” Handwritten on back “Mrs. M. Irby” and “980 [underlined] Regency”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, eagle rock warrnambool, w. langley-taylor, oil painting, wall decoration, seascape of victoria's coast, mrs m irby, art, seascape, pair of paintings

This Bosun's char was part of the equipment on the vessel 'Reginald M. It is typical of items included on board a vessel in the late 19th and early 20th century. The nautical word 'bosun' is an abbreviation of the word 'boatswain' who is the person responsible for the repair and maintenance of the vessel. It could be used when rigging the sails and for rescue at sea, along with a thick rope anchored on shore or a rope between ships. It could also be used to move passengers to and from a ship as well as cargo on, to and from the vessel. A bosun's chair is a simple piece of equipment made from a short plank of wood and a sturdy piece of rope. It looks a little like a child's swing but usually has a pulley system that allows the user to adjust the length of the hanging piece of rope, and in so-doing adjusts the height above the floor or ground or sea. In modern times a harness would also be worn by the bosun’s chair user for safety reasons. Bosun's chairs are also used by window cleaners, construction workers and painters. The bosun’s chair is sometimes just a short plank, or even a canvas sling. The REGINALD M - The vessel “Reginald M” was a two-masted coastal ketch, owned and built by Mr. Jack (John) Murch of Birkenhead, Port of Adelaide, South Australia. Its construction took approximately 6 months and it was launched at Largs Bay in 1922. The vessel had many owners and adventures over the years until it was purchased by Flagstaff Hill Maritime Museum & Village in 1975 from the Melbourne Ferry Company at auction. It was then used as an active display until 2016. Visitors could go aboard, turn the ship's wheel, go below deck and get the feel of the captain's quarters, sailors' quarters and the storage space available. The Reginald M was a popular exhibit for young and old, until 2016.This bosun's chair is significant for its connection to the maritime history. It has been used for rigging, painting, maintenance and importantly for life saving and safety. The bonus's chair is also significant because of its connection to the history of the vessel REGINALD M, the coastal trading ketch from South Australia built in 1922 and in existence until 2016. Its flat bottom, single chine shape illustrates a very simple but robust method of construction, compared to other round bilged examples of trading vessels. The Reginald M is listed on the Australian Register of Historic Vessels (ARHV Number: HV000562.)Bosun's chair; seat is a rectangular plank of wood with a hole drilled in each corner and three reinforcing wood lengths attached below the plank. The ends of two looped thick ropes have been threaded through the holes in the plank, crossed over then spliced together. The loops of rope above the plank have been tied with light rope. A roughly made wire hook is attached at the base of one length of rope. Top surface reveals indents where the bottom wooden pieces are joined to the top and some of the metal fixtures can be seen along the edge. There are remnants of white paint on the top.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, bosun's chair, bosuns chair, boatswains chair, rigging, maritime equipment, bosun's seat, life saving, marine technology, ship rigging

Print of a picture of the S.S. Casino, This print is from an original painting by the Australian marine artist A V Gregory (1867-1957), also known as Arthur Victor Gregory. Gregory lived and worked in South Melbourne. He took over the Gregory Studio owned by his father, George Frederick Gregory, painting actively between 1899 and 1932. He usually signed his works as ‘A V Gregory’. Some of his original works have been sold for thousands of dollars. The S.S. Casino was a passenger and freight steamer built in Dundee, Scotland, in 1882 for the Newcastle and Hunter River Steam Navigation Company of N.S.W. She weighed 425 tons gross with a length of 160.4 feet, beam of 24.1 feet and a depth of 10.2 feet. She had saloon accommodation for 35 people, a fore cabin for 25 more people, and she carried 300 tons of cargo. While on her delivery journey on May 30th 1882 the S.S. Casino called in at the Port of Warrnambool for coal ., narrowly escaping going ashore in gale force winds due to the quick action of the pilot. At that time, still at anchor, she impressed the directors of the Belfast and Koroit Steam Navigation Company so much that they bought her immediately; she was ideal for trade along the West Coast of Victoria. (The Belfast and Koroit Steam Navigation Company was first managed by Messers. Saltau and Osburne and after the passing of Mr. Osburne, by produce merchants Messers H. Sautau and Sons, who had a hay and corn store and shipping agency on the corner of Liebig and Koroit Streets in Warrnambool. ) The S.S. Casino became “the most famous steamer to operate in Victorian waters along the West Coast” by author Jack Loney. Captain Boyd was her first Master, followed by Captain Chapman, who stayed with her from 1890 until 1924. Captain W. Robertson followed for a short term, and then Captain Middleton then took command from 1925 - 1932. The S.S. Casino had several mishaps during her life. One was on 3rd January 1898 when she collided with the S.S. Flinders in Apollo Bay with minor damage. Another was on 24th October 1924 when she grounded on a reef at Point Hawdon near Grey River and most of her cargo (of Christmas goods) had to be dumped into the sea. Then in February 1929 she was ‘holed’ when she struck a submerged object as she entered Lady Bay, Warrnambool. On the morning of 10th July 1932, after attempting to berth at Apollo Bay jetty in heavy seas, Captain Middleton decided to take her out into the bay and wait until the seas abated. It was not realised that the anchor used to steady her as she manoeuvred to her berth had pierced her hull. She put about and headed for the beach but sank. Captain Middleton and nine others lost their lives; nine people were rescued including the two female passengers. Captain Middleton had been in charge of the S.S. Casino for seven years. He was the first ship’s Master to lose his life in a shipwreck in the West Coast trade. In the years following the turn of the century, the S.S. Casino remained the only regular trader with normal passenger accommodation along the West Coast. From 1882 she had made at least 2,500 voyages on the one run. Flagstaff Hill’s collection has a photograph of a portrait of Captain Chapman, , a ship model of the S.S. Casino that shows both forms of power under which she sailed, steam and sail. The ship is painted green and flies three flags. The inscription across the case of the ship model, incorrectly dated, tells the sad story of the wreck of the ship and the loss of lives on July 10th 1932 at Apollo Bay. A print in the Collection shows S.S. Casino underway in the heavy sea off Point Lonsdale, another two photographs show her at the Port of Warrnambool, leaving from the Breakwater in Lady Bay and another identifies the S.S. Casino as a ship from the Belfast and Koroit Steam Navigation Company. (Belfast is the original name for the township of Port Fairy).This print of the S.S. Casino is of significance for its association with the coastal trader S.S. Casino. The wreck of the S.S. Casino is considered an important part of Victorian and Australian cultural heritage and as such has been declared and protected as an Historic Shipwreck under State and Commonwealth Law in the Commonwealth Historic Shipwrecks Act (1976). The detailed image of the vessel depicted in this print shows one of the many sail and steam vessels painted by the renowned Victorian marine artist A V Gregory, whose original works are highly valued today by marine collectors.Print with hand-painted watercolour highlights depicting the port side steamship SS Casinounderway in a heavy sea, merchant flag flying at the stern. Mounted in a decorative wooden frame behind glass. The original painting was by A V Gregory. The title of the picture is repeated in handwritten words on the matte below the artist's signature on the print.Signed "A V Gregory" Hand painted title "SS Casino off Point Lonsdale"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, newcastle and hunter river steam navigation company, belfast and koroit steam navigation company, h. sautau and sons, s.s. casino, west coast trader s.s. casino, victorian coastal trader, captain boyd, captain w. robertson, captain chapman, captain middleton, apollo bay shipwreck, s.s. casino at lady bay warrnambool, saltau and osburne, a v gregory, arthur victor gregory, melbourne artist

This framed print is part of a number of items from the St. Nicholas Seamen’s Church, 139 Nelson Place, Williamstown, Victoria, used during religious services there. The Church was operated by the Mission to Seamen organisation. THE MISSIONS TO SEAMEN (Brief History: for more, see our Reg. No. 611, Set of Pews) The Missions to Seamen, an Anglican charity, has served seafarers of the world since 1856 in Great Britain. Its symbol is a Flying Angel, inspired by a Bible verse. Today there are centres in over 200 ports worldwide where seamen of all backgrounds are offered a warm welcome and provided with a wide range of facilities. In Victoria, the orgainsation began in Williamstown in 1857. It was a Sailors’ Church, also known as ‘Bethel’ or the ‘Floating Church’. Its location was an old hulk floating in Hobson’s Bay, Port of Melbourne. It soon became part of the Missions to Seamen, Victoria. In the year 2000 the organisation, now named Mission to Seafarers, still operated locally in Melbourne, Portland, Geelong and Hastings. The Ladies’ Harbour Lights Guild was formed in 1906 to support the Missions to Seamen in Melbourne and other centres such as Williamstown. Two of the most significant ladies of the Guild were founder Ethel Augusta Godfrey and foundation member Alice Sibthorpe Tracy (who established a branch of the Guild in Warrnambool in 1920). The Guild continued its work until the 1960s. In 1943 a former Williamstown bank was purchased for the Missions to Seaman Club. The chapel was named St Nicholas’ Seamen’s Church and was supported by the Ladies’ Harbour Lights Guild, the Williamstown Lightkeepers’ Auxiliary and the League of Soldiers’ and Sailors’ Friends. It ceased operation in 1966. A Missions to Seamen Chapel and Recreation Room was a significant feature of ports during the late 1800s and into the 1900s. It seemed appropriate for Flagstaff Hill to include such a representation within the new Maritime Village, so the Melbourne Board of Management of Missions to Seamen Victoria gave its permission on 21st May 1979 for the entire furnishings of the Williamstown chapel to be transferred to Flagstaff Hill. The St Nicholas Seamen’s Church was officially opened on October 11, 1981, and closely resembles the Williamstown chapel. This print is significant historically for its origin in the St Nicholas Mission to Seamen's Church in Williamstown, established in 1857 to cater for the physical, social, and spiritual needs of seafarers. It originated in Bristol, England when a Seamen's Mission was formed in 1837. The item is historically significant for its connection to the Ladies Lightkeepers’ Auxiliary, an organisation of women, formed to support seafarers. The connection of this item to the Mission to Seamen and to the Ladies Lightkeepers’ Auxiliary highlights the strong community awareness of the life of people at sea, their dangers and hardships, and their need for physical, financial, spiritual and moral support. Print of a watercolour painting, framed in Huon pine wood behind glass.Depicts the artist's impression of the Biblical event referred to as The Last Supper. Inscription marked on the back. Australian, circa 1890. The print is part of the St Nicholas Seamen's Church Collection (NOTE: This is not a copy of Leonardo da Vinci's 'Last Supper'.)On rear of board: "156" flagstaff hill maritime museum and village, flagstaff hill, warrnambool, maritime museum, maritime village, shipwreck coast, great ocean road, religion, religious service, st nicholas seamen’s church, williamstown, missions to seamen victoria, last supper, worship, religious worship, ladies lightkeepers’ auxiliary

A history of Narbethong taken from recollections of local residentsPaperback. Front cover has a photograph of a painting of 'Lucknow', a farm which was owned by the Yeates Family. Back cover has a black and white photograph of a lady standing next to a wooden sign post showing the Acheron Way and the distances to Marysville, Warburton, Narbethong and Healesville.Stamp of the Marysville & District / Historical Society Inc / P.O. Box 22 / Marysville 3779narbethong, history, victoria, australia, local history

A postcard from a painting of a ford on the Acheron River that was painted in 1881 by H.J. Johnstone.A postcard from a painting of a ford on the Acheron River that was painted in 1881 by H.J. Johnstone. The original painting is oil on canvas and was donated to the Broken Hill City Art Gallery in 1948 by Mr. O. Von Rieben. This postcard was produced by Souvenirs Australia Pty. Ltd. in Glynde, South Australia as a souvenir of Marysville.H.J. JOHNSTONE/ A FORD ON THE ACHERON RIVER, 1881/ OIL ON CANVAS, 171cm x 245cm/ BROKEN HILL CITY ART GALLERY/ DONATED BY MR. O. VON RIEBEN, 1948 Made in/ Australia by/ Souvenirs Aust./ Pty. Ltd./ Adelaide/ BHG 2 ADDRESS Published by/ Souvenirs Australia Pty. Ltd./ Glynde/ Copyright A PITT CARDacheron river, oil painting, h.j. johnstone, broken hill city art gallery, mr. o. von rieben, postcard, souvenirs australia, souvenir

A postcard with 5 colour photographs of local attractions in and around Marysville in Victoria.A postcard with 5 colour photographs of local attractions in and around Marysville in Victoria. This postcard was produced by Nucolorvue Productions as a souvenir of Marysville.MARYSVILLE/ Victoria 1. Burrengeen Park in Winter./ 2. Steavenson Falls./ 3. Autumn tonings of Marysville./ 4. Olde Yarra Track Shoppe./ 5. Mountain Grey (Brushtail) Possum. NU-COLOR-VUE/ OF/ AUSTRALIA AFFIX/ STAMP/ HERE/ 18 MA002/ NCV 5408 ADDRESS/ POSTCODE Made in Australia Date Stamp MARYSVILLE VIC AUST DEAR MELISSA,/ HERE IT IS MELISA/ YOUR OWN CARD AS/ REQUESTED. I AM/ RELAXING IN FRONT OF/ A HUGE LOG FIRE AT/ THE MOMENT BEFORE/ ATTACKING A 4 COURSE/ MEAL FOR TEA. I/ HAVE SETTLED IN TO/ THIS WAY OF LIFE/ ALREADY AND AM THROUGH/ LY ENJOYING IT. LOTS/ OF PAINTING MATERIAL/ AROUND HERE TOO. HEATED/ POOL (SALT) IS BEAUT./ SEE YOU LATER/ Jess xx M/S MELISA THOMSON/ C/- COCA-COLA BOTTLERS/ 128 BRIENS RD/ NORTHMEAD 2152/ SYDNEY/ N.S.W. COPYRIGHT/ Nucolorvue Productions Pty. Ltd. Telephone: (03) 560-1788marysville, victoria, burrengeen park, steavenson falls, autumn, yarra track, mountain grey possum, brushtail possum, nucolorvue productions, postcard, souvenir

This book is a mid-20th century updated version of a manual with regulations and instructions for lighthouse staff and the supply of equipment and other goods that are necessary. It includes lists such as protective clothing required, fuel, when to raise a flag at half-mast, how communication must be carried out, the testing of equipment, and other similar information. It also contains templates for the Certificates of Service of various ranks such as Master and Mate. Australia no longer has manned lighthouses although some still have caretakers that report on the weather. The last manned lighthouse was in Tasmania and was de-manned in December 1995.The ultimate purpose of the book was to set down instructions that would be used to carry out life saving procedures, and to avoid shipwrecks. It confirms some earlier methods and updates others. The information within the book is similar to the information referred to by the 19th century and early 20th century lighthouse keepers and staff, and others involved in the preservation of life, such as those published by the Department of Ports and Harbours. The book is a valuable resource to those researching the evolving of maritime history from Colonial Australia to the modern day.Book, orange vinyl surface sealed cover on hard covered ring-binder. Gold embossed title on spine and front cover. Contains cream loose-leaf pages with rounded corners. Pages are printed with text, tables and diagrams, and are numbered with serial page and paragraph numbers. There is a Table of Contents and an Index. The cover displays the Coat of Arms of the Commonwealth of Australia. Published by the Commonwealth of Australia in 1968 for the Department of Shipping and Transport, the book contains the Standing Orders to Masters and Crews of Lighthouse Tenders. It has examples for Certificates of Service for various ranks, a list of books and forms, protective clothing, rates for passengers, and a Scheme of Colour Painting for Lighthouse Tenders.Coat of Arms [Commonwealth of Australia] "COMMONWEALTH OF AUSTRALIA" "DEPARTMENT OF SHIPPING AND TRANSPORT" "STANDING ORDERS / TO / MASTERS AND CREWS OF LIGHTHOUSE TENDERS" "No 1/1968" "No.2/1968"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, shipwrecks, life saving, lifesaving, shiipping and transport, commonwealth of australia, standing orders, lighthouse crew, lighthouse tenders, masters and crews, 1968

An early steel engraving print of Marysville in Victoria.An early steel engraving print of Marysville in Victoria by Nicholas Chevalier. Nicholas Chevalier, born in 1828, was a Russian-born artist who worked in Australia and New Zealand. In 1851 Chevalier moved to London and worked as an illustrator in lithography and watercolour. After further studies in painting in Rome he arrived in Australia in December 1854. In August 1855 he obtained work as a cartoonist on the newly established Melbourne Punch. Later he did illustrative work for the Illustrated Australian News and also worked in chromolithography. He accompanied explorer/meteorologist Georg von Neumayer on trips to remote areas of Victoria, and the material gathered on such journeys resulted in some of his most recognised pieces of this period, including his painting of Mount Arapiles in Western Victoria. In 1864, when the National Gallery of Victoria was founded, an exhibition of works by Victorian artists was held. The government agreed to buy the best picture exhibited for £200. Chevalier's oil painting The Buffalo Ranges was selected, and was the first picture painted in Australia to be included in the Melbourne collection. In 1865 Chevalier visited New Zealand, travelling widely and doing much work there which was exhibited at Melbourne on his return. In 1869 he joined HMS Galatea as an artist with the Duke of Edinburgh, on the voyage to the East and back to London with stops in Tahiti, Hawaii, Japan, China, Ceylon (Sri Lanka) and India. The pictures painted during the voyage were exhibited at South Kensington. In January 1874 Chevalier was commissioned by Queen Victoria to travel to St Petersburg and paint a picture of the marriage of the Duke of Edinburgh. Chevalier made London his base and was a continual exhibitor at the Academy from 1871 to 1887. He had one picture in the 1895 Academy but had practically given up painting by then. Chevalier died in London on 15 March 1902. N. Chevalier 1870 N. Chevalier/ W. Forrest MARYSVILLE, VICTORIA. LONDON, VIRTUE & CO.marysville, victoria, n. chevalier, w. forrest, steel engraving, print, mount arapiles, georg von neumayer, the buffalo ranges, national gallery of victoria, hms galatea

A copy of an early pencil sketch of Fernshaw in Victoria.A copy of an early pencil sketch of Fernshaw in Victoria by Louis Buvelot. Louis Buvelot ( 1814–1888), born Abram-Louis Buvelot, was a Swiss landscape painter who lived 17 years in Brazil and following 5 years back in Switzerland stayed 23 years in Australia, where he influenced the Heidelberg School of painters. Arriving in Melbourne in February 1865, after leaving the cold of Switzerland, which was impacting on his health, for the warmth of Australia, Buvelot was in business as a photographer in Bourke Street for a year but soon resumed his painting. He lived in Melbourne for a number of years before moving to Fitzroy. The National Gallery of Victoria purchased two of his paintings and he continued painting until his death in 1888. He was buried at the Boroondara Cemetery, where a large monument was erected in his memory. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.Fernshaw 17.2.83louis buvelot, fernshaw, victoria, national gallery of victoria, switzerland, boroondara cemetery, kew cemetery, artist

A copy of an early oil painting of Fernshaw in Victoria.A copy of an early oil painting of Fernshaw in Victoria by Isaac Whitehead. Isaac Whitehead (1819–1881) was an Irish-Australian artist who worked in watercolour and pastel. He was also a picture framer and art promoter. It is believed that Isaaz Whitehead emigrated to Australia with his family in either 1853 or 1858. Isaac Whitehead died at his home 50 Punt Road, Prahran, Melbourne, on 21 April 1881. Isaac Whitehead had established himself as the foremost picture framer in Melbourne by 1860, known for his highly ornate frames with floral decorations. Among the clients of his framing business were Louis Buvelot, Nicholas Chevalier, and Eugene von Guérard. In his own paintings, he painted a number of scenes of the forests of Gippsland, Victoria. His work focused on the rich landscapes with trees and ferns, with a high degree of botanical detail. His work won him two medals and his work was posthumously exhibited at 1884 Victorian Jubilee Exhibition, the 1886 London Colonial and Indian Exhibition, and the 1888 Melbourne Centennial Intercolonial Exhibition. Fernshaw was a rural township 63 km northeast of Melbourne and 10 km northeast of Healesville. Situated on the Watts River, near where a log had fallen making a convenient crossing, Fernshaw was settled in the 1860s. It provided good country for orchards and berry growing. The location was at the foot of Blacks Spur, with Mounts Juliet and Mondah rising on either side, providing spectacular scenery. There were nearby fern gullies giving rise to the name – ‘shaw’ is old English for thicket or wood. By 1875 Fernshaw had a post office (1865), two hotels, a school (1871), and stores. It was famed for its beauty, attracting tourists. In 1886 the Melbourne and Metropolitan Board of Works began work on the Watts River water catchment scheme – later to become Maroondah – and the Board obtained approval for the catchment country to be reserved and kept free of settlement. This required the removal of the Fernshaw township, which was completed by about 1890.isaac whitehead, fernshaw, victoria, louis buvelot, nicholas chevalier, eugene von guerard, gippsland, victorian jubilee exhibition, london colonial and indian exhibition, melbourne centennial intercolonial exhibition, watts river, healesville, blacks spur, mount juliet, mount mondah

A copy of an oil painting titled "Near Marysville".A copy of an oil painting titled "Near Marysville" by W.B. McInnes. William Beckwith McInnes (1889–1939) was an Australian portrait painter, winner of the Archibald Prize seven times for his traditional style paintings. He was acting-director at the National Gallery of Victoria and an instructor in its art school. william beckwith mcinnes, archibald prize, marysville, victoria