This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced for Cleckheaton wool and contains knitting patterns for a jumper and a jacket.Knitting pattern book, 4pp. Cover printed in colour with an oval photo of a man and a woman wearing a chunky, textured knitted jumper in beige (her) and a shawl necked brown jacket with a belt tie (him).No. 106 / Cleckheaton / COUNTRY SPUNknitting handicrafts - history, cleckheaton, knitting, handicrafts - history

Tibetan felt hats, typically made from wool felt crafted from sheep or yak wool, are well-suited to the harsh, cold climate of the Tibetan Plateau. A lining and decorative elements, such as embroidery or patterns, are often added. The fur flaps, made from rabbit or fox fur, provide extra warmth. Felt hats are worn by both men and women.Tibetan hats (also known as ‘chuba hats’ or ‘tsamtha’) are rich in cultural significance. They are often worn during religious ceremonies, festivals, and other important occasions. The design and quality of a hat can indicate the wearer's social status or role within the community.Traditional Tibetan hat with silk brocaded crown in blue and purple colours, with red and white flower pattern, and large fur flaps.everyday life, clothing, hats

Red covered pattern book of needlework designs from Briggs of Manchester. Over 130 pages with inserts and advertising specific products in the Briggs range.non-fiction

Needlework Illustrated is issue 196 and cost 1/-. it was published quarterly. Australian Home Journal is the May 1963 issue. Women’s magazines just after WWII played a “reflecting role,” including topics of readers’ interests as well as containing news items. Women’s employment rate had grown during WWII. However, even though the number of women working outside the home grew rapidly most of them were still engaged entirely in homemaking. Therefore women’s magazines centered mostly home crafts. Articles as well as advertisements presented information on keeping the family healthy with guidelines for thrifty shopping and advice on how to look good through it all. Patterns and instructions were provided for women to create home articles and clothing. The main sources for kntting and needlework designs available to women were in journals, magazines and pattern books. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes. These are examples of women's magazines. They give practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests --------------------------------------------------------------------------------------------------------------------------------------------------------- Two magazines. 3097.1 contains patterns, instructions, advertisements and photographs. It has a coloured cover - a pink background, black print an drawings of a woman wearing a top embroidered with roses and examples of needlework. 3097.2 contains patterns, advertisements, correspondence, and stories. It has a coloured cover with a photograph of a woman wearing a knitted jumper and three sewing patterns.magazine- needlework-illustrated magazine-australian-home-journal

DCPU is a five colour camouflage pattern developed by the Australian Defence Force and tested during Auscamthe late 1970s. DCPU has been replaced in the Australian Army by Australian Multicam Camouflage Uniform (AMCU) Soft round 'giggle' hat with 6 cm stitched brim. Fabric loops for inserting Camouflage materials. Fabric is Disruptive Pattern Camouflage Uniform (DCPU) nicknamed Auscam or Jelly Bean Camo. JOHN STAR P/L NSW 02 9669 1066 SIZE: 60CM 100% COTTONauscam cammo, uniform, australian armed forces

At the time when this shortbread / butter stamp block was used, rural dairies and larger properties who manufactured their own butter used butter stamps blocks for identifying the source of the butter or for decoration.. The patterns stamped into the warmed butter provided for a range of decorative visual enhancement to the "plain" and "boring" straight leveled normal butter surface. Although the wooden surfaces could be hard to keep clean commercial usage would have been limited and eventually replaced by a non porous and hygienically cleaner material. Greater hygiene controls where introduced. from the late 1940s on. These controls were the result of high infectious illnesses due to contaminated milk and dairy handling methods.This shortbread / butter stamp was used by a Kiewa Valley dairy and it presents what the domestic butter beautification processes were available during the mid to latter 1900s was. Their was a pride by rural properties in their produce and its by-products.This shortbread / butter stamp is made from wood, round and fashioned from a flat bed to a dome top. The top has a round moulded hole with screw indentations for fastening a pressure pole. The pattern on the face of the stamp is of an eleven petalled flower pattern around a small circular flower head. Both the head and petals have indentations which are will produce raised points in the pressed butter. Enclosing the flower pattern is a pattern which when pressed against the butter would produce small ridges radiating outward.On the dome stamped in black ink "T. & W. Davies"butter stamp, domestic butter blocks, domestic food preparations., shortbread, stamp, dairy, butter

Tibetan felt hats, typically made from wool felt crafted from sheep or yak wool, are well-suited to the harsh, cold climate of the Tibetan Plateau. A lining and decorative elements, such as embroidery or patterns, are often added. The fur flaps, made from rabbit or fox fur, provide extra warmth. Felt hats are worn by both men and women.Tibetan hats (also known as ‘chuba hats’ or ‘tsamtha’) are rich in cultural significance. They are often worn during religious ceremonies, festivals, and other important occasions. The design and quality of a hat can indicate the wearer's social status or role within the community.Traditional Tibetan hat with silk brocaded crown in dark and light brown colours, with orange and green flower pattern, and large fur flaps.everyday life, clothing, hats

This photograph is taken outside the Royal District Nursing Service (RDNS) Rosebud Centre which was opened in the mid 1970s. This photograph is a record of Rosebud RDNS staff in the 1980s. The Sisters are wearing their summer uniforms, some with white frocks with a blue pattern and a red belt, others with a white blouse with a red pattern on it and a royal blue skirt. The Health Aides uniform is a royal blue dress with white piping.Gradually over the years, Melbourne District Nursing Service (MDNS), later known as Royal District Nursing Service (RDNS), from 1966 when they received Royal patronage, opened Centres throughout the Melbourne Metropolitan area. Their Trained nurses (Sisters) left from these Centres each morning to carry out their nursing visits in a specific area,(district) taking any sterilized equipment needed with them. They returned at the end of the day to write up their patients nursing histories, clean and reset any equipment used ready for sterilization, and contact other medical and community personal as necessary. Most of the RDNS cars were housed at each Centre, only a few being driven home by a Sister. In 1980, a Home Health Aide ‘Pilot study’, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by RDNS Principal Nurse Educator. Pat (Paddy) Rowley was evaluated as successful. Following this Pilot study, Home Health Aides were employed by RDNS, and after instruction in the RDNS Education department, joined RDNS Centres and worked under the supervision of the RDNS Sisters. The Sister assessed each client, then introduced and supervised the Health Aide in the client procedure required. The Sister wrote out clear, concise procedural instructions on a work card which the Health Aid followed each visit. If the Health Aide noticed any change in the client’s condition, this was reported immediately and the Sister visited. The Sister made routine visits to the client for review at least monthly. Black and white photograph showing Royal District Nursing Service (RDNS), staff outside a brick building with a flat roof. A white RDNS car is on the right hand side of the photograph with "RDNS" in capital letters on the door. A tree is in the background. The twenty-five, some partly hidden, RDNS staff are wearing their uniforms. Some are wearing white patterned short sleeve dresses with a dark belt, and others white patterned short sleeve blouses and dark skirts. The letters "RDNS" are displayed in capital letter on the left hand upper pocket of the Sisters. Two Health-aides are present and are wearing dark coloured frocks with white piping. mdns, melbourne district nursing service, rdns, royal district nursing service, rdns centres

Tibetan felt hats, typically made from wool felt crafted from sheep or yak wool, are well-suited to the harsh, cold climate of the Tibetan Plateau. A lining and decorative elements, such as embroidery or patterns, are often added. The fur flaps, made from rabbit or fox fur, provide extra warmth. Felt hats are worn by both men and women.Tibetan hats (also known as ‘chuba hats’ or ‘tsamtha’) are rich in cultural significance. They are often worn during religious ceremonies, festivals, and other important occasions. The design and quality of a hat can indicate the wearer's social status or role within the community.Traditional Tibetan hat with silk brocaded crown; it has dark brown background, and silver and beige flower pattern, the fur flaps are of ruse colour.everyday life, clothing, hats

Pink and blue patterned sample of fabric, with rough cut edges. Fabric is doubled over and stitched together. A cream paper tag is attached with black printed text and hand written blue text.front: [tag] “GLENMILL” \ TWEED \ Pattern No. 4289 \ Piece No. 3602 \ Width 54 \ Length 52 5/8 \ Strings 2 \ 52 3/8 back: [tag] 80% WOOL / 20 % RAYON / 0 5 2 5/8

A hunter uses this tool to throw a spear in front of a fleeing animal, skillfully intercepting it so that it is speared on the run. The size of the groove and spear holder indicate this woomera was made for light weight hunting spears not for warfare. Elders and young warriors carried these with them and each man made his own to suite his strength and body size. They were used when the need and opportunity for fresh meat arose. Woomeras were used by men.This is the only Jaara woomera in the collection and is a significant tool used in the on going search for food. It is a mens tool.This woomera is undecorated. At the broad end there is a small hook like protrusion which holds the spear in place before throwing. The narrow end has a tapered waist with bulb to assist grip and a shallow groove to help guide the spear. The overall shape is an elongated hollowed single piece of timber.There are no inscriptions, the wood is strong with a prominent grain pattern.wood, jaara, tool, woomera, throwing stick, mens business, hunting

No specific information is available for this item. However, ivory was common in early 20th century household items, which were often purchased overseas as souvenirs. Many ivory items originated from Asia. Letter openers are still used today; however, they are now made out of steel as ivory is illegal.This item is an example of the use of ivory in domestic households early in the 20th century. A long, cream-white letter opener made out of ivory with a plain blade and rounded handle.There is decorative patterning on the handle consisting of holes and circles.ivory, letter opener, letters, chiltern athenaeum museum, mail

Two expansion rings attached to metal clip which would be attached in a pocket.Terry's No, 650|Patterned & registered|Made in England.domestic items, writing equipment

Ohlen-Bishop Saws were manufactured in Columbus, Ohio. The company has been master saw makers since 1852 with a factory being established in 1854 at the corner of Spring and Water Streets Columbus. In 1866, this establishment was considerably enlarged and in 1869, it was producing about eight hundred saws of different sizes and patterns, per day. By 1898 the company was employing 75 workers and was finally incorporated in 1884. In 1920 the James Ohlen & Sons purchased the H. Bishop & Co. and the company name was changed to Ohlen-Bishop Company. An early American saw maker with a history that gives a snapshot into a developing company that was regarded as a significant maker of saws for all applications with their products being exported all over the world.Two man Virginia cross cut saw with peg tooth pattern handles attached by means of wing nut.Maker Ohlen-Bishop Saws Columbus Ohio, Blade number 337flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village

Twenty page knitting pattern book featuring black and white text and colour images. The colour cover features two children wearing knitted jumpers, with two puppets. Illustrations of a snake and possums are also shown on the cover.front: [printed] Patons / Possum's / PATTERN / IN 8 PLY TOTEM / PURE NEW WOOL / 635 / PRICE / CODE / F / the / NEIGHBOURHOOD / Claude the Crow, 'Ol Possum / Norm the Kangaroo, Stanley the Carpet Snake / cPUPPETSTUFF PTY. LTD.fashion, design, knitwear, home made, wool, pattern book, patons

This hat is part of a Disruptive Pattern Combat Uniform issued by the Australian Airforce to Bernard Farley during service. This uniform type was used in base and field activities and was replaced in 2014 by the General Purpose Uniform as the uniform worn during general base duties and in non-warlike environments.This item has social significance, as an item of uniform worn by Warrnambool RSL community member and Secretary (2019), Bernard Farley during service with the Australian Airforce. The item is a representative example of previously standard issue Airforce uniform and is in excellent condition. As a set, the uniform has aesthetic significance in it’s design, incorporating the Disruptive Pattern style of camouflage which has its roots in the 1980s and continues to be adapted into uniform design by the Defence Force.Disruptive Pattern Combat Uniform hat in five colours of green and brown in camouflage pattern. Broad brim hat with black plastic cord end fastener on a beige/brown cotton cord. A band, sewn at 35mm intervals around the crown of the hat may have been used for attachments. Cotton tag on interior of hat lining with illegible inscriptions. Hat lining at front brow and on crown of head is a towel-like material, presumably for absorbing perspiration.The name “FARLEY” can be faintly seen handwritten on the hat on both the left and right interior.camouflage, uniform, general purpose uniform, airforce, australian defence force, disruptive pattern

Dressmakers used patterns to make clothes. Companies included 'Simplicity, Butterick and Vogue etc. The packet would contain transparent paper shapes with printed lines and instructions. These were pinned onto the material, cut, then sewn together as per the lines and the included instructions.In the 1950s and 1960s women sewed the clothes for the family. In the Kiewa Valley dress shops were not available and a journey to the bigger cities was less frequent than it is today.Coloured pictures showing the finished garment. Patterns were in sizes. eg. size 10 1. Fashion - lady's dress 2. x3 Simplicity - lady's clothes 3. x3 Butterick lady's clothesdressmaker, simplicity butterick, ladies fashion

These knitting pattern leaflets were published by Patons and Baldwins and contain knitting patterns for women's and men's garments. Patons & Baldwin began as two separate companies: J & J Baldwin and Partners, founded in the late 1770s by James Baldwin of Halifax, West Yorkshire, England, and John Paton Son and Co., founded in 1814 by John Paton of Alloa, Scotland. Both men had formed their businesses using the spinning mule developed by Samuel Crompton. They mainly produced yarns for commercial knitting machines. Patons established itself in Australia with its first mill built in Tasmania in 1923. For decades, Patons was the leading hand knitting yarn brand but due to the market conditions in the mid 1980's, Patons felt the decline and eventually amalgamated with Alliance Textiles, New Zealand in 1996. Patons Australia was acquired by Australian Country Spinners in 2000. Knitting has always had a great appeal to women, as it needs few tools. Companies which manufactured yarn often produced instruction guides and patterns. These pattern books are typical of the knitting pattern books commonly used in the mid 20th century. The patterns contained are for garments commonly worn at that time.Two knitting pattern books. Both are black / white and contain knitting patterns. 821.1 cost 7d, is titled "Patons Specialty Knitting Book No. 145" and has on the front cover a lady standing near a buggy wheel. 821.2 cost 1/3, is titled " Patons Knitting Book No. 394 (introducing Patons Double Quick Knitting)" and has has on the front cover a photograph of a man on a boat.knitting-patterns needlecraft patons-baldwin

J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States and one of these pottery lines was called "EMPRESS" and was in production through the 1930s. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as today the "EMPRESS" china pattern from the 1930s by Meakin is today a collectable item and a good example of the Meakin range of china.Plate china white oval with a pattern inscribed along the edge Inscription to base "EMPRESS" warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, alfred meakin, staffordshire potteries, iron stone pottery, serving dish

This shirt is part of a Disruptive Pattern Combat Uniform issued by the Australian Airforce to Bernard Farley during service. This uniform type was used in base and field activities and was replaced in 2014 by the General Purpose Uniform as the uniform worn during general base duties and in non-warlike environments.This item has social significance, as an item of uniform worn by Warrnambool RSL community member and Secretary (2019), Bernard Farley during service with the Australian Airforce. The item is a representative example of previously standard issue Airforce uniform and is in excellent condition. As a set, the uniform has aesthetic significance in it’s design, incorporating the Disruptive Pattern style of camouflage which has its roots in the 1980s and continues to be adapted into uniform design by the Defence Force.Field shirt in disruptive pattern colours of green, khaki and browns. Long sleeve with 6 buttons up the front, two chest pockets with zippered verticle openings along the button seam; two button down pockets on both the left and right shoulder with velcro patches sewn to outside flap for attachment of patches. Above the chest pockets are two patches with embroidered inscriptions in black thread on disruptive pattern backing. Shirt cuffs have adjustable velcro fasteners.Interior label has been removed. Two embroidered patches above the chest pockets read “AIR FORCE” (left of wearer) and “FARLEY” (right of wearer). Oval patch on left shoulder shows a kangaroo silhouette encircled by a black embroidered circle.camouflage, uniform, australian defence force, disruptive pattern, airforce

This item is part of a group of five green display boards with photographs of sheep. This item is associated with the New South Wales Graziers Association world tour of merino sheep 1928/9.Five black and white photographs and printed paper mounted on green display board. Photographs depict sheep and men. The display board has pin holes in each corner.Front: [handwritten] Reversed Badgerface Pattern. / [printed] This is a remarkable instance of a reversal of pattern. The areas / that are black in the badgerface are white in this type, and vice versa. / This pattern behaves as a simple recessive to white and to badgerface / pattern. As in the badgerface, there are many modifications. Figs. / 1-3 show the typical pattern. Fig. 4 shows the head of another sheep / and Figs. 5-6 a typical lamb. Back: [handwritten] Reversed / Badgerface Pattern / 8 / [printed] PHOTOGRAPH COPYRIGHT / BY / THE ANIMAL BREEDING RESEARCH DEPT., / THE UNIVERSITY, EDINBURGH. / PLEASE RETURN TO :new south wales graziers association, world tour, england, sheep, farm, rural, agriculture, scotland

Eight page knitting pattern book featuring black and white text and colour images. The colour cover features an image of the cartoon character Porky Pig.front: [printed] 1090 / Patons / PRICE CODE K / LOONEY TUNES TM / featuring / FOGHORN / LEGHORN TM / PORKY PIG TM / WILE E. / COYOTE TM / ROADRUNNER TM / 4 Knitting / patterns / for children and adults / BY GARY KENNEDY (INTARSIA UK) / TM & c Warner Bros. Inc. 1991. All Rights Reserved.fashion, design, knitwear, home made, wool, pattern book, patons

Burleigh Pottery (also known as Burgess & Leigh) is the name of a pottery manufacturer in Middleport, Stoke-on-Trent. The business specialises in traditionally shaped and patterned domestic earthenware of high quality. The business was established in 1851 at the Central Pottery in Burslem as Hulme and Booth. The pottery was taken over in 1862 by William Leigh and Frederick Rathbone Burgess, and traded from that date as Burgess & Leigh. The trademark "Burleigh", used from the 1930s, is a combination of the two names. Burgess and Leigh moved to different works, first in 1868 to the Hill Pottery in Burslem and then in 1889 to the present factory at Middleport, that at the time was regarded as a model pottery. Its scale and linear organisation was in contrast to other potteries constricted sites and haphazard layout of their working spaces. In 1887 Davenport Pottery was acquired by Burleigh primarily for its moulds. These historic moulds are still used today in the production of Burleigh ware. Leigh and Burgess died in 1889 and 1895 respectively, and were succeeded by their sons, Edmund Leigh and Richard Burgess. On Richard's death in 1912, the business passed entirely into the ownership of the Leigh family. In 1919 it became a private limited company, Burgess & Leigh Ltd. The years between the wars are often regarded as the company's "golden age", with a number of extremely talented designers and artists such as Harold Bennett, Charles Wilkes and Ernest Bailey. Perhaps the best known was Charlotte Rhead, who worked between 1926 and 1931, noted particularly for her work in tubelining. By 1939, the factory was employing over 500 people. The business took great pains, from as early as 1897, to build up a thriving export network, concentrating primarily on the Empire later becoming the Commonwealth and American markets, focusing later on Europe. After a run of financial difficulty, the company was sold in 1999 to the Dorling family, Rosemary and William Dorling, and traded as Burgess Dorling & Leigh. In 2010 it was acquired by Denby Holdings Ltd, the parent company of the Denby Pottery. A significant company producing pottery over many generations and exporting their products all over the world. Its designs are still in use today demonstrating the longevity and significance of the Burleigh Ware trade mark.Gravy Boat & plate-willow pattern Burleigh Ware "WILLOW" within a floral decoration & Made in England flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, willow pattern

Identified by Mrs Surman as the Linton football team in about 1900. Mrs Surman also identified names of players, which are inscribed on the back of the photograph. Guernseys were apparently hand-knitted at this time, mostly by the players' mothers. They were all in team colours, blue and white, but had different patterns. (This information given by Mrs Stella Surman in a 1991 interview. Interview recorded on CD - see Registration no. 2019-212.)Original sepia photograph of a group of men wearing football guernseys. Guernseys have different patterns (mostly variations on vertical stripes) and most are laced at the front."Jack Brown / about 1900 / L to R / H Roberts, R Nicol, Ben Cornish, Catton, Jack Hogan, Pearly Power, J Mitchell, H Catton /Jim Hogan, A Nicol, P Crane, B Angus, W McMillan, Tony Cunningham / Mick Cunningham, -?- , Whitecross, Jack Cunningham, J Brown".linton football club, jack brown, h. roberts, r. nicol, a. nicol, ben cornish, h. catton, jack hogan, jim hogan, "pearey" power, j. mitchell, p. crane (craine), b. angus, w. mcmillan, tony cunningham, mick cunningham, jack cunningham, whitecross

Aunt Fanny gave 6 yds of her "Bucks pattern" lace to Gillian Davis for her 21st birthday. This lace is very difficult to make, as there is a thick thread to keep exactly the same tautness as the fine thread. Aunt Fanny was about 77 when she made this.A fine example of womens hand craft from the late 19th and early 20th Century1 bundle of cream bobbin "Bucks pattern" lace which has a thick thread through it at exactly the same tautness as the fine thread. 2nd bundle of cream lace made by another method, possibly crochet.hand craft, lace bobbin

The sample of crochet lace is an example of a handmade item that would have been used to decorative purpose around the home. It may have been used to edge curtains, a table runner or a mantlepiece. The Christmas Bells pattern suggests usage as a Christmas decoration.The item is significant socially to show the use of textile crafts, such as handmade crocheted lace, to decorate regular domestic objects around the home such as curtains and mantlepieces.Length of handmade crochet lace. Mercerised white crochet thread has been used to crochet a repeat pattern consisting of three rows: a decorative top row, a middle section of diamond shapes and a bottom row of Christmas bells.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, lace, handmade lace, crocheted lace, decorative edging, decorative lace edging, domestic object, crocheted trim

This Asiatic Pheasant china dinner plate was salvaged from the wreck of the " Loch Ard". The design on the plate was popular in the late 1800's and early 1900's. History of the Loch Ard: The Loch Ard got its name from "Loch Ard" a loch which 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, Curdle and 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, umbrella, 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 its 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 Loch Ard 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 Loch Ard 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 Loch Ard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Loch Ard 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 in. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The shipwreck of the Loch Ard is of significance for Victoria and is registered on the Victorian Heritage Register ( S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulation of artefacts from this notable Victorian shipwreck. The collections object is to also give us a snapshot into history so 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. The collections historically significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history.Dinner plate, white ceramic with scalloped rim, white china with blue transfer "Asiatic Pheasant" design. Inscription on underside. Recovered from the wreck of the Loch Ard.Mark on underside"-HEE-- " [within a flower pattern cartouche].flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, china plate, asiatic pheasant, dinnerwear, crockery, table setting