This Japanese ceramic vase was recovered from the wreck of the S.S. Casino (1882 – 1932) between the late 1960s to early 1970s. It is one of the shipwreck artefacts in the John Chance Collection. The design is an example of vintage basket weave pottery. The base of the vase is stamped ‘MADE IN JAPAN’ , which dates its probable manufacture to circa 1921-1932. The vase has side seams indicating that it was made by joining two moulded sides of the vase together, then adding the round base. The coastal trader SS Casino (1882–1932) had a run of almost 50 years along the coast of Western Victoria. She traded goods and food as well as carrying passengers from port to port on her many voyages. This vase may have been included in her cargo or could have been amongst the personal luggage of the people on board. The ceramic vase is an example of ceramic pottery in Victoria the 1930s. The vase is also significant as it was recovered by John Chance, a diver from the wreck of the Loch Ard in the 1960s-70s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The vase is also significant as it is associated with the S.S. Casino, which played an historical role in Western Victoria, providing transport, communication and trade along the coast between Melbourne and Portland in the late 19th and the early 20th century, visiting the ports at Apollo Bay, Warrnambool and Belfast (Port Fairy). The S.S. Casino was the only regular trader with normal passenger accommodation along the West Coast and the only Western District steamship that was in service between 1854 and 1939, and to be represented in the Victorian Heritage Shipwreck register, and to have been wrecked in the Western District, and to have the wreck located, and to be accessible to divers. The wreck of the S.S. Casino, and its associated relics, is considered an important part of Victorian and Australian cultural heritage and is now protected as a Historic Shipwreck under State and Commonwealth Law in the Commonwealth Historic Shipwrecks Act (1976). Vase, round, cream coloured, unglazed ceramic, basket weave design. Wide mouth, short neck that tapers out to wide shoulders and straight down to round base. Seams on each side, mouth to base. Small handle on each side of vase between mouth and shoulder. Front and back of vase have a plain oval space bordered by a floral design. Inscription stamped onto base. Made in Japan. Stamped onto base in black ink "MADE IN / JAPAN"flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, vase, japanese vase, s.s. casino, john chance, vintage pottery, newcastle and hunter river steam navigation company, belfast and koroit steam navigation company, west coast trader, apollo bay, captain middleton, basket weave, ceramic

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

Settling in Moyston in 1984, Nanette Bourke is a prominent figure in the Ararat and Grampians arts community, perhaps best known as a member of the ‘Grampians Four’ group of artists. Bourke has been a printmaker since the late 1960s, having studied at the Julian Ashton Art School in Sydney, and at art societies and the CAE in Melbourne before relocating to Western Victoria. Inspired by the woodcuts and linocuts by Melbourne artists of the 1920s and 1930s - Napier Waller, Murray Griffin, and especially Eric Thake - Bourke embraces the sophisticated results that can be achieved in this medium. Bourke holds a deep affinity with the natural environment, which is integral in her artistic life. Many of the works in this exhibition are inspired by the natural environment of the Grampians. In contrast to the often joyous depictions of Australian native flora, Bourke’s imagery also presents a poignant reminder of humankind’s negative impact on the environment.

This sports coat was made at a Fletcher Jones factory about the 1970s. David Fletcher Jones (1895-1977) served in World War One and in the 1920s set up as a travelling hawker selling drapery in Western Victoria. In 1924 he leased three shops in Liebig Street, Warrnambool and in 1928 opened his Man's Shop at the intersection of Koroit/Liebig Streets. He manufactured men's clothing on site in a new building erected in 1931. In 1946 a Fletcher Jones shop was opened in Melbourne and in 1948 a factory was established in Warrnambool with a new company Fletcher Jones and Staff established in 1951.This company then operated in other States and known Australia-wide firstly for its production of men's trousers and later for men's and women's clothing. By 2011 the Warrnambool factory was closed and the company dissolved. This coat was bought by Lew Officer, a member of a family with pastoral interests in the Western District.This item is of considerable historical interest as an example of the high quality work produced by the Fletcher Jones and Staff Clothing Stores. This company was a key industry in Warrnambool in the 20th centuryThis is a man's sports coat made of Harris tweed hand woven in the Outer Hebrides made from Scottish-grown wool. The checked material is in brown tonings. The coat has a brown material lining and there are two brown buttons down the front and two on each sleeve. The collar has a grey felt lining.fletcher jones clothing stores, warrnambool, harris tweed jacket, lew officer

First edition copy of James Dawson's book, "Australian Aborigines" (1881). Dawson's book draws on his daughter Isabella's ability to speak the local languages and attempts a balanced description of a culture he considered ill-used and under-appreciated by white settlers. This work remains one of the more valuable insights into the life of First Nations people at the point of first European contact.Title page of James Dawson's book "Australian Aborigines""AUSTRALIAN ABORIGINES" BY JAMES DAWSON THE LANGUAGES AND CUSTOMS OF SEVERAL TRIBES OF ABORIGINES IN THE WESTERN DISTRICT OF VICTORIA, AUSTRALIA BY JAMES DAWSON GEORGE ROBERTSON MELBOURNE, SYDNEY AND ADELAIDE MDCCCXXXIcdhs, cdhsfirstnations, djargurd wurrung, djargurdwurrung, isabella dawson

Back Cover: At a time when black and white art was flourishing in Australia- with artists like Norman Lindsay, Will Dyson and Stan Cross at work - Percy Leason's creation of Wiregrass ranked him as an illustrator of surpassing genius. His early successes as a book illustrator and as a cartoonist for the Bulletin and Melbourne Punch, presaged a full flowering of his work with his creation of the mythical town and his endowment of it with a host of characters and comic situations. His inspiration came from his childhood town in Kaniva, Western Victoria but Wiregrass was every country town, with its general store, pub and church hall, its swimming hole, football ground and racecourse, its leading citizens, its battlers and mischievous children. Wiregrass flourished in Table Talk Magazine from 1926 to 1937 when Leason, seeking to escape his comic reputation and pursue "serious" art, went to live in America." Percy Leason lived in Eltham Softcover, 80 p. : ill., 1 port. ; 30 cm.ISBN 0850912490australian wit and humour, drawing, caricatures and cartoons, country life

No information is available on these two items which would have been collected and polished by someone, probably someone interested in lapidary. The quartz would probably not have come from our area (Western District of Victoria).These items have no known local significance and will be useful only for display. These are two white quartz crystals with gold and silvery encrustations and markings. They are rough on the top and cut into geometric shapes and polished on the bottom part. The larger piece seems to have been fused together or split at one stage. quartz crystals, warrnambool

Material relating to the history of the Black Family in the Watsonia area.Folder containing copies of wills and probate documents for eight members of the Black Family between 1892 and 1952; with copies of electoral rolls from Victoria and Western Australia, listing members of the Black Family and their addresses. black family, watsonia

Black and white photograph showing Symes boat, Westwind, motoring into the entrance from Bass Strait, Eastern pier on far side of boat, photo taken from western pier, Lakes Entrance, Victoria.aerial photograph, islands, roads and streets, waterways, township

This banner is one of the many awarded in the Western District of Victoria for competitive cycling races from the 1920s onwards. Notably Russell Mockridge was one of the first from the Geelong Cycling Club to compete in the Western District Road Races.This banner is one of the many awarded in the Western District of Victoria for competitive cycling races from the 1920s onwards.Grey coloured satin cloth banner. The banner has a yellow fringe attached to the bottom of it and has yellow embossed inscriptions. There is a long yellow cord supported by a piece of dowel threaded through the top of the banner. "Western District/Road Championships/Horsham 1991/Senior/Teams Time Trial/Third Geelong/C.Dowling/C.Bain"geelong cycling club; banner; western district; road championships; horsham; senior; teams time trial; c.dowling; c.bain;

This local factory was typical of small butter factories in the 1890's in Western Victoria. It was established in 1894 when farmers brought their milk to the factory on horse drawn drays and carts and waited for their cream to be separated. The skimmed milk was mostly used by farmers to feed calves and pigs and the separated cream was manufactured into butter, some of which was exported to England. By 1910 this butter factory had an electricity generating plant called Mortlake Electricity which supplied both the factory and the township with power and this took precedence over the butter production which continued until 1926 when it was sold to the Electricity Commission. By 1930 the Butter Factory had a yearly turnover of 24,000 pounds sterling and in1935 it was producing 6 tons of butter weekly. But in 1936 the factory was sold to Glenormiston Cheese & Butter Factory who ceased operations. The manager's residence still remains in 2011 as does the remnants of the small timber butter factory (charcoal lined) and the double brick cheese room but the bluestone chimney has long gone. This complex is listed by Heritage Victoria Black and White Photograph Nonecheese factory, mortlake, butter factory

This plaque is the name plate of one of Warrnambool's longest serving doctors. Alfred Ernest Brauer came to Warrnambool after graduating from the University of Melbourne in 1927. He initially took up the position as resident medical officer at the Warrnambool Base Hospital before entering private practice. he was appointed honorary medical officer at the hospital and was a life member of the Hospital board , serving as its president from 1952-54.he was a founding member of the South Western Victoria Ambulance service.as vice president, a position he held until his death in 1972.He had wide sporting and community interests including cricket, football, and horseracing. He was a founding member of the Warrnambool Lutheran church and was closely associated with Warrnambool High School and Warrnambool Technical School. he died in September 1972 and was survived by his wife and three daughters. His practice was situated in Koroit StWarrnambool, firstly at Ambleside where he also lived, then later on the other side of the street , in practice with a number of other doctors. A link to one of Warrnambool's longest serving doctors who contributed to the city in a wide range of roles. It therefore has strong historic and social significance.Rectangular brass plaque stamped and infilled with black. A screw hole in each of the four corners.Dr. Alfred Brauer physician & Surgeonwarrnambool, dr a e brauer, alfred brauer, warrnambool doctors, warrnambool doctors 1940-50's, ambleside warrnambool