These medals are part of the Lawless Collection. The Lawless family lived in Orbost from 1907 - c 1920. John Francis Lawless had a saddlery shop. He died at an early age - 47 years - June 7 1912, leaving his wife, Elizabeth and seven children. The eldest son, Victor Rowland lawless volunteered for serv ice in WW1 but did not leave Australia because of illness. The second son, Edward Vincent Lawless (b 1895 d 1917) worked for McCoy & Co. in Orbost, coachbuilding, undertakers, general blacksmiths and farriers, prior to enlisting in WW!. He was trained as a signaller and was sent to France where he was killed in action on 9.10.1917. Elizabeth Lawless worked as a ladies' nurse (midwife) in Orbost prior to leaving the district in 1920. She lived to 6.6.1975 aged 104 years. The British War Medal was a medal given to people who had fought in the First World War. The Victory Medal (also called the Inter-Allied Victory Medal) is a First World War campaign medal of Britain and her then colonies and dominions which included Australia.These personal documents, photographs, medals and books give an insight into the human element of World War 1 ensuring that those who were part of the Orbost community and died while playing a vital role during this time are remembered.Two medals in recognition of service during WW1. 1846.3 is a silver medal a WW1 1914-18 British War Medal. Obverse: Bare head of King George V facing left; text around, 'GEORGIVS V BRITT: OMN: REX ET IND: IMP:'; the artist's initials 'B.M.' (Bertram MacKennal) are on the neck truncation. Reverse: Naked figure of St. George on horseback advancing right trampling a shield bearing an eagle design and a skull and crossbone. It has a blue/white/orange striped ribbon attached. 1846.4 is a gold coloured medal. The obverse in the medal shows the winged, full-length, full-front, figure of 'Victory' with her left arm extended and holding a palm branch in her right hand. The reverse has the words ‘THE GREAT / WAR FOR / CIVILISATION / 1914-1919' in four lines, all surrounded by a laurel wreath. It has a purple/blue/green/yellow and orange striped ribbon attached.medals ww1 lawless-family

"The marine Hydrographers of the British Admiralty wanted desperately to chart a safe passage through the Great Barrier Reef and the gap between the northern tip of Australia and Papua New Guinea, which would open up the new colony to the East Indies trade. They commissioned the Rattlesnake, a 28 gun frigate of the Royal Navy, whose captain was a keen amateur artist and whose name, Owen Stanley, was given to the mountain ranges of PNG. After the passage out, Stanley brought aboard Oswald Brierly, later to be the marine painter to Queen Victoria, and together these men made two voyages through the Great Barrier Reef, painting and sketching all the while. They produced a visual record of 19th century contact between Europeans and the indigenous people of Northern Australia and New Guinea in an album which contains the original of this copy. It is held in the Mitchell Library in Sydney." (ref. State Library New South Wales) Sir Oswald Brierly, a young marine artist, arrived in Sydney in 1842 on the yacht Wanderer. Settling at the whaling station of Boyd Town in Twofold Bay, he painted extensively and left a vivid account of the whaling life during the five years he spent there. However it was the open sea and adventure that lead Brierly to accept a position on the HMS Rattlesnake as shipboard artist. This item is associated with the anchor of the The Rattlesnake. This anchor is in the main street of Orbost in front of what was once the museum.This is a copy of a picture of the H.M.S. Rattlesnake at sea with a canoe of Aborigines rowing towards it.h.m.s.-rattlesnake brierly-oswald stanley-owen

To make a piano roll, when the recording artist depresses a key on a specially wired-up piano, a signal is sent to a recording machine, which punches holes in a moving roll of paper. Originally, editing was done by punching extra holes by hand or patching unwanted holes with sticky tape but eventually the process was done by computer.• The music is A Lone Girl Flyer with the words and music by Jack O'Hagan. It was published in Melbourne by Allan's, c1930 and was dedicated to Miss Amy Johnson, a pioneering English aviator, the first female pilot to fly alone from Britain to Australia. It is an example of musical recreation of the 1930's. Brown paper roll of pianola paper (.1) in black box (.2) with lid. Broadway hard roll 1694 - A lone Girl Flyer ( march song O'Hagan). It has a duty stamp attached - Allan & Co Music Co Ltd MelbourneBroadwaypianola lone-girl-flyer johnson-amy music

This photograph depicts a large group of men in their work clothing situated in front of a large bank of earth. They are identified as miners working in an unidentified location in Australia. This photograph was taken by photographer Walter Thwaites sometime during the period of 1865-1908, likely c.1870. It is unsure where this image was taken since Thwaites travelled a lot over his photography career and the photograph is not annotated with this information. In addition, the identities of the men in the photograph are also unknown. These men are photographed in front of a large bank of earth where they had presumably been mining for gold or other precious metals. The men, with the exception of four, are wearing wide brimmed hats to protect their faces from the sun. They are also wearing loose fitting white shirts which are often worn beneath a darker coloured vest. They wear pale coloured work pants and boots. The men are mostly clean shaven with the exception of the moustache and a couple of beards. Two of the men have pipes in their mouth. Their clothing is basic and much less dramatic than the outfits worn by the gold diggers of the 1852 gold rush. These men, by wearing similar outfits, are expressing a sense of comradery or equality between them. It is likely that they are from the same, or similar, social status. They have an air of independence and share social equality in their stance and clothing. Walter William McLean Thwaites (1840-1908) was a professional photographer born in Sydney, Australia. He learnt the craft in his father's Hobart studio, but later embarked on his own solo career and toured every existing Australian colony between 1860 to 1888. The Thwaites family were a long line of photographers and artists with Thwaites' father Walter WIlliam Thwaites Sr working as an artist and photographer in Australia after moving from England in 1834. Walter Thwaites Sr's father, also named Walter Thwaites, was a British miniature portrait artist.Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts over 30 diggers standing in front of a bank of earth and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.Reverse: 1997.208 / MINERS. / W. Thwaites / Photography /australia, australian photography, photography, miners, gold rush, australian landscape, diggers, walter thwaites, thwaites photography, w. thwaites photography, social history

The photograph shows the popular tourist attraction, Loch Ard Gorge, which is located along the Great Ocean Road in Victoria, near Port Campbell. The gorge is named after the famous sailing ship, the LOCH ARD, that was wrecked there in 1878. Only two of the 54 passengers and crew survived. FOYLE “Foyle” written on the photograph is the name of Foyle’s Photographic studio. At the time of the photograph, the studio was owned by both Charles and Lilian Foyle (sometimes known as Lillian or Lily), either of whom could have taken this photograph. They also worked together at a later date on the photographs, sketches and paintings of the famous and historical Pioneers’ Honour Board, which is currently on view in the Warrnambool Library. Foyles Photography was the studio of James Charles Foyle. He owned “Foyle’s Photo Card Studios” in Liebig St, Warrnambool, which operated between 1889 – 1919. A letter to the editor (by Mr Edward Vidler) in the Melbourne Argus, 3rd August 1907, mentions that in that year Warrnambool would celebrate the 60th anniversary of its proclamation as a town, and that talented local artist Miss Lily Foyle would paint 200 portraits in watercolour of the pioneers who settled in the district prior to 1860. The Pioneer Honour Board can still be seen on display in the Warrnambool Library. In the Warrnambool Standard, Dec. 1917, “Mr Foyle’s studio was awarded the contract to decorate rail cars on newly opened Trans-Continental railway, assisted by his sister, Miss Findlay.” HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built-in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square-rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29-year-old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3 am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But 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. A man 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. 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 LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. 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 broke over the ship and the top deck was 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 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 and opened the 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 state of exhaustion, he told the men of the tragedy. Tom 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, this time 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 LOCH ARD 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 all of 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 of it was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. 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 artefact and is one of very few 'objects' on the Victorian State Heritage Register.Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best-known shipwrecks in Victoria’s history. Foyle's photographs date from the late 19th century to the early 20th century, representing a time of growth in the Warrnambool district and a time when the still relatively new technology of photography was more available to the community.Photograph of Loch Ard Gorge. This sepia coloured rectangular photograph is mounted on a brown cardboard backing that has a wood grain pattern. The photograph has an inscription above it, below it, and in the bottom left corner. It was made for the purpose of a presentation by the Port Campbell Progress Association. Printed above the photograph "PRESENTED BY THE PORT CAMPBELL / PROGRESS ASSOCIATION". Printed below the photograph "LOCH ARD GORGE / PORT CAMPBELL". Hand written on bottom left corner "Foyle". 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, photograph, port campbell, port campbell progress association, foyle photograph, foyle photographic studio warrnambool, warrnambool photo studio

Birthday books are used to record the names and birth dates of friends and relatives. This one has a quote from Charles Dickens for each day of the year .The Dickins Birthday book was chosen a a gift to Clara Skirrow, given on January 19th 1911 by Mr and Mrs B Watson. The artist, Pilford Fletcher Watson (1892-1907) was a well established and prominent artist. He was born in London and lived in Sydney, a foundation member of the Australian Academy of Arts in 1887. His works included local scenery, architecture and the interiors of historic buildings. Many of his works were bequeathed to the State Library of New South Wales. The firm Raphael Tuck & Sons Ltd,, was a printer and publisher that operated in London from 1866 to circa 1960s. Its logo is the artist's easel, palette and brush. In 1960 the firm amalgamated with others to become the British Printing Corporation c. 1960. The fly page states that Ralph Tuck & Sons, Ltd. were publishers to Their Majesties, the King and Queen, and Their Royal Highnesses, the Prince and Princess of Wales. This would mean that this book was published in the period when King Edward VII and Queen Alexandra, and Prince George and his wife Princess Mary were able to use these titles, that is, from 1901 to 1910. This early 20th-century Birthday Book is significant for containing quotes by the famous writer Charles Dickins. It is also significant for being illustrated by renowned artist Pilford Fletcher Watson. Ownership of a rare and beautifully presented book like this indicates the value placed on keeping in touch with friends and family in the early 1900s. Charles Dickins Birthday books were published by the same firm, with a similar layout.Book, The Dickens Birthday Book; with 6 illustrations in Colour by P. Fletcher-Watson Publisher: Raphael Tuck & Sons Ltd Printed in England 1901-1910 Artist: P. Fletcher-Watson This padded red leather hardcover book has embossed gold text on front cover and spine. . The six colour illustrations throughout the book were by artist P. Fletcher-Watson; one is a portrait of Dickins. Each date of the year has a quotes from Charles Dickens' works and blank lines below. The drawing on the fly page depicts a stone building with side pillars and a logo in the centre of the horizontal beam. It has a gift inscription for Clara Skirrow on January 19th, 1911. There are several handwritten entries with names and years.Handwritten in black ink: "From Mr & Mrs B. Watson / To Clara Skirrow / With Best wishes / January 19th 1911" Illustration on fly page: Logo [artist's palette, brush and easel] Handwritten entries of names and datesflagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, dickins birthday book, birthday book, p. fletcher-watson, raphael tuck & sons ltd, 1901-1910, charles dickins, dickins quotes, illustrated, 19-01-1911, mr & mrs b. watson, clara skirrow, red cover, british printing corporation, king and queen and trh prince and princess, king edward vii and queen alexandra, antique book, rare book

Lithography is a method of printing, originally based on the immiscibility of oil and water. The printing is from a stone or a metal plate with a smooth surface. It was invented in 1796 by the German author and actor Alois Senefelder and was initially used for musical scores and maps. There were two sailing ships with the name Helen B Sterling a six masted vessel and an earlier four masted Helen B Stirling that is the subject of the lithograph depicting the rescue of the crew and passengers by the Australian light Cruiser Melbourne in a gale off three Kings islands 55 kilometres Northwest of Cape Reinga New Zealand. This Helen B Sterling was built as a four mast wooden auxiliary screw Schooner, known as a wind jammer of 1608 tons. The vessel was formally known as the “Tacoma” and owned by the Washington Shipping Corporation based in Seattle USA in 1917. This original Helen B Sterling was caught in this storm and eventually sunk after being abandoned by the crew. The second generation relatives of those who were passengers at the time of the foundering advise that the storm was more like a cyclone. The Zeehan and Dundas Herald reported on January 26th 1922 that the abandoned vessel was still afloat and drifting towards the New Zealand coast. The Kalgoorie Miner newspaper also had an article reporting that on the 7th Feb 1922 the crew, captain, first mate and their families after being heroically rescued by the crew of the Australian light Cruiser Melbourne were arriving in Sydney today aboard the steamer the “Maheno” from New Zealand.Lithograph appears to be by an unknown artist A M Duffield produced in 1924. It is significant in that it depicts the rescuing of the passengers and crew of the schooner “Helen B Stirling”. At the time this was a significant event that made most Australian and New Zealand papers because of the involvement of the Australian cruiser “Melbourne”.Lithograph framed of cruiser Melbourne rescuing crew from Helen B Stirling off New Zealand coast. By A.M. Duffield."Australian Cruiser Melbourne Rescuing crew of (undetermined text _ _) Schooner Helen B Sterling of (Halifax Nth Canada Tons 1343 in a gale in the Pacific Ocean" (this last potion of text is incorrect see note sec this document) Lithograph signed bottom right hand corner in black "A M Duffield Nov 19th 1924"warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lithograph, a.m.duffield., helen b stirling, schooner, cape reinga new zealand, alois senefelder, cruiser melbourne, three kings islands

In 1935, the CB Pedersen arrived on the 13th of April after 198 days at sea. The ship left on the 18th June (date written on the photograph) after two months in Melbourne. Captain Dalhstrom had been its skipper for 13 years. In the Sydney Morning Herald, Tuesday 27 April 1937, page 12: "The C. B. Pedersen was built in 1891. It has visited Australia several times, the most recent occasion having been in 1935, when It was anchored in Port Phillip Bay, Victoria, for several weeks, awaiting a suitable cargo. At length the master, (Captain Hjalmar Dahlström) announced that, as no cargo could be obtained he would be prepared to carry passengers in a voyage to Gothenburg, via Torres Strait. Eight persons, including three women and a small boy were accepted as passengers, and signed on as members of the crew at salaries of 1/ a month". Artist Violet Teague was one of the passengers. She painted during the voyage and exhibited her work in 1938. Built in 1891 the C.B Pedersen, a four-masted steel barque (2142 tons) was used as a training Barque. The ship foundered in April 1937, the crew was saved.The C.B. Pedersen was one of the last windjammers sailing in the 1930s with the Herzogin Cecilie and the Grace Harwar. Black and white photographLower right corner front in black ink: H. Dahlström / June 13th 1935 / On board the CBP / in Hobson's Bayc.b. pedersen, captain hjalmar dahlström, violet teague, windjammer, sweden

In the Sydney Morning Herald, Tuesday 27 April 1937, page 12: "The C. B. Pedersen was built in 1891. It has visited Australia several times, the most recent occasion having been in 1935, when It was anchored in Port Phillip Bay, Victoria, for several weeks, awaiting a suitable cargo. At length the master, (Captain Hjalmar Dahlström) announced that, as no cargo could be obtained he would be prepared to carry passengers in a voyage to Gothenburg, via Torres Strait. Eight persons, including three women and a small boy were accepted as passengers, and signed on as members of the crew at salaries of 1/ a month". Artist Violet Teague was one of the passengers. She painted during the voyage and exhibited her work in 1938. Built in 1891 the C.B Pedersen, a four-masted steel barque (2142 tons) was used as a training Barque. The ship foundered in April 1937, the crew was saved. Several photographs of the C.B. Pedersen taken by the same studio are held at the State Library of Victoria.see links aboveBlack and white photograph depicting two sailors in attire on the deck of a ship.verso in Black ink; Photographic studio stampcrew, c.b pedersen, captain hjalmar dahlström, violet teague, windjammer

This painting was created by Robert Dowling (1827-1886) in 1885. At this time Dowling was considered Australia's best portraitist. Dowling had been born in England, but migrated to Van Diemen's Land in the early 1830s with his parents. Dowling worked in both Tasmania and Victoria as an artist, before returning to England in 1857. He did not return to Australia until 1884 and received eighteen commissions for portraits. The Barry portrait was commissioned after Barry's death which explains some of the mistakes in the depiction of Barry's robes; the fur cuffs and collar are too large, and the cummerbund is sitting in the wrong place. Sir Redmond Barry is an important figure in Colonial Victorian History, responsible for the establishment and support of some of our finest cultural institutions (the University of Melbourne, the State Library of Victoria, the Supreme Court Library, and aspects of the Museum of Victoria's collection). This is in addition to his role as barrister defending aborigines in the 1840s and his position as a foundation judge of the Supreme Court of Victoria, a position he held for nearly 30 years, presiding over two of the most well known of colonial trials: the Eureka Trials in 1854 and the Kelly trial in 1880.The portrait of Sir Redmond Barry is significant because of the historical importance of Redmond Barry in colonial Victorian history. The painting is also of aesthetic significance as the work of the distinguished portraitist Robert Dowling. Portrait in oils of Sir Redmond Barry. Barry is depicted standing, dressed in red Judicial robes, his hand resting on a chair; behind is a table with books.Signed and dated 1886 (lower left) by Robert Dowling.redmond barry, portraits, judges, robert dowling

This display is situated on the RH side of the front entrance to the Bendigo District RSL in Havilah RoadSix metal sculptures representing the. Australian Army, Navy, Airforce, Women in the Forces over time during War & Peace. Consists of 4 figures standing, 1 kneeling with a child standing. Plaque black colour on a stand with white text re the Artist and Donor. The dimension shown is an average of the standing figures.As per the photo of the plaque.brsl, smirsl, bdrslinc, sculpture

From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat. No. 7300.Framed print. Print - colour print on paper. Copy of an oil painting on canvas. This painting depicts "several soldiers, in uniform and wearing tin helmets sitting in a dugout. "Holding a candle, one reads a precious letter from home". Frame - black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink; "FRANK CROZIER (1883-1948) Diggers sitting in dugout 1918". FRANK CROZIER "enlisted with the Australian Imperial Force in 1915 and was trained in Egypt before serving at Gallipoli", 22nd Battalion. Appointed an official war artist in 1918.framed accessories, prints, ww1, gallipoli, centenary

From information book - " Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. Copy of an oil painting on canvas. This painting depicts Anzac Cove - with soldiers going about various activities, some unloading crates, stacking crates and moving supplies. Background of sea, sand and hills. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink. " FRANK CROZIER (1883 - 1948) The Beach at Anzac 1919". Frank Crozier - enlisted with the Australian Imperial Force, 22nd Battalion in March 1915. Trained in Egypt before serving in Gallipoli. Appointed an official war artist in 1918.framed accessories, prints, ww1, gallipoli, centenary

From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. Copy of an original oil painting on canvas. Depicts a soldier leaning against a wall structure with a second soldier in more muted tones in the background within an earth trench. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details below print - in black ink. "GEORGE COURTNEY BENSON (1886-1960) Infantryman c 1919-1920". GEORGE BENSON " Enlisted in the Australian Imperial Force in September 1914 with the 3rd Field Artillery Brigade". "Commissioned as an official artist in April 1918".framed accessories, prints, ww1, gallipoli, centenary

From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. COPY OF AN ORIGINAL PAINTING - OIL PAINTING ON HARDBOARD. Depicts - an interpretation of the Gallipoli story of Private John 'Murphy' SIMPSON KIRKPATRICK and his donkey. Colours - vivid oranges with some white and brown. Visible in the painting - donkey, wounded soldier, rocky terrain, background figure of "Simpson" and cliff and gullies. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper."CLIFTON PUGH (1924 - 1990) Untitled IV (Simpson and His donkey) 1990". Clifton Pugh was appointed as the Australian War Memorial's official artist at the 75th Anniversary of the Gallipoli landing. He served in the Second World War in New Guinea and Japan.framed accessories, pprints, ww1, gallipoli, centenary

This invitation to a ‘Conversazione’ to celebrate the Federation of the six colonies in Australia into the six States of Australia in 1901 was sent to the invitees after the event to keep as a souvenir of the occasion. The event was hosted by the Government of Victoria. The certificate was designed by George Brougham Austin, a Melbourne architect and artist employed by the Victorian Department of Public Works. He also designed many of the public decorations displayed in Melbourne during the Federation celebrations. Austin’s original work was lithographed by an artist at Sands and McDougall, Melbourne. This particular invitation was sent to George Rolfe and his wife, Annie. George Rolfe (1836-1919), a tea merchant from Melbourne, began buying blocks of land near the mouth of the Hopkins River in Warrnambool in the 1870s. By the early 1880s he owned 50 acres of land in the town and some nearby farming properties. He used the building on the ]and near the mouth of the Hopkins River as holiday accommodation and called the property, Lyndoch. He improved the property with the additions of stables, jetty, boathouse, bone and chaff sheds, reservoir and windmill and extensive gardens. Rolfe spent most of his later life at Lyndoch. Today the property is the site of an Aged Care facility. This certificate is of considerable importance for two reasons: 1. It is an important and attractive memento of a signal event in the history of Australia – the Federation of the States in 1901. 2. The certificate was an invitation to Mr and Mrs George Rolfe. George Rolfe was a prominent Warrnambool person in the late 19th and early 20th centuries. This is a multi-coloured certificate printed on a cream-coloured card. The certificate has an image of the Exhibition Building surrounded by an ornate border of heraldic shields, portraits of the Duke and Duchess of Cornwall and York, views of the six capital cities of Australia, native flora and fauna, the Royal Crest and the Crest of Australia. The names of the invitees are handwritten in black ink. ‘United Australia 1901 One Flag One Hope One Destiny Australian Commonwealth Celebrations’ ‘The Government of Victoria requests the honor of the presence of Mr & Mrs G. Rolfe at a Conversazione in the Exhibition Building on the Evening of Tuesday 7th May 1901 at 8 p.m.’ george rolfe of lyndoch, warrnambool, federation of australia, history of warrnambool, george rolfe

This certificate is an invitation to the Evening Reception in Melbourne in 1901, an event which was part of the celebrations in Melbourne to commemorate the Federation of the six colonies into the six States of Australia in January 1901. The certificate was sent to the invitees after the event as a souvenir of the occasion. The certificate was designed by the artists Julian and Howard Ashton and lithographed and issued by Sands and McDougall Limited of Melbourne. This particular certificate was sent to George Rolfe and his wife Annie. George Rolfe (1836-1919), a tea merchant from Melbourne, began buying blocks of land near the mouth of the Hopkins River in the 1870s. By the early 1880s he had acquired 50 acres of land in the town and several nearby farming properties. He used the buildings on the land at the mouth of the River Hopkins as holiday accommodation and called this property Lyndoch. Rolfe improved this property adding stables, jetty, boathouse, bone and chaff sheds, reservoir and windmill and extensive gardens. Rolfe spent most of his later life at Lyndoch. Today the property is the site of an Aged Care Facility. This certificate is of considerable importance for two reasons: 1. It is an attractive and valuable memento of a signal event in Australia’s history – the Federation of the States in 1901. 2. The certificate was an invitation to Mr and Mrs George Rolfe. Rolfe was a prominent person in Warrnambool in the late 19th and early 20th centuries. This is a multi-coloured certificate mounted on a piece of grey cardboard. The certificate is highly embossed and has a figure of Britannia in a red dress and a mailed vest holding a shield with the Union Jack emblem. Britannia is extending her hand to a figure of a younger woman representing Australia. This figure is dressed in blue and holds a shield which has a blue cross with white stars. The borders have vines and vine leaves and the Royal Crest is at the base of the certificate. The names of the invitees are handwritten in black ink. ‘In Celebration of the Opening of the Parliament of the Commonwealth of Australia, To Meet Their Royal Highnesses, the Duke and Duchess of Cornwall and York, His Majesty’s Ministers of State for Australia have the honor to invite Mr & Mrs G. Rolfe to an Evening Reception at the Exhibition Building, Melbourne on the 9th of May 1901, at 8 0’clock’. george rolfe of lyndoch, warrnambool, federation of australia, history of warrnambool, george rolfe

This photograph was donated by the Bread and Cheese Club, Melbourne but it is not know to what group or institution it was originally given. It is a copy of a well-known photograph of John Feltham Archibald, taken about 1910 when he was obsessed with all things French and was known at the time as Jules Francois Archibald. John Archibald (1856-1919) was born at Kildare near Geelong (so is not a native of the Warrnambool district) but he lived for some time in Warrnambool with his family. He began his working life with the Warrnambool Examiner newspaper and its successor, the Warrnambool Standard before going to Melbourne. In N.S.W. in 1880, he established with John Haynes, the Sydney Bulletin , a journal that became the most influential one of its day, promoting nationalism and fostering Australian writers and poets. He left legacies to establish the Archibald Prize for artists and the Archibald Fountain in Sydney. This photograph of John Archibald is of some interest though it is a widely-known one and is not original. It is kept because John Archibald, a national figure in Australian History of some importance, spent his school years in Warrnambool in the 1860s and 70s where his father was a local policeman. He went to Henry Kemmis’ Warrnambool Grammar School and wrote about his time here in later years, He also commenced his career as a journalist with the Warrnambool Examiner newspaper and later the Warrnambool Standard newspaper before going to Melbourne. This is a black and white photograph of John Archibald, mounted on cardboard. It has been taken out of its original frame and the typed card with the original frame has been removed and attached to the back of the photograph.The typed card reads: ‘J.F.Archibald, A Native of Warrnambool District. Founder of the ‘Bulletin’ School of Australian Literature, Presented by the Bread and Cheese Club, Melbourne’ (note that this contains inaccurate information in that John Archibald was not a native of the Warrnambool district)warrnambool, archibald family, j f archibald, john archibald, john feltham archibald

This so-called Hickford medal was a medal struck in 1897 by the Town of Warrnambool (bearing Walter Hickford’s name as the Mayor at the time) to commemorate the 60th anniversary of the reign of Queen Victoria. Walter John Hickford was Mayor of Warrnambool 1895-6-7 and President of the Committee that organized the Warrnambool Industrial and Art Exhibition of 1896-7. A skilled decorative artist, Hickford carried out art work in many private houses, business and churches in Warrnambool. His shop in Liebig Street supplied paint materials for households, businesses and artists. Hickford Parade is named after him. The 60th anniversary of Queen Victoria’s reign was celebrated widely throughout Australia and the British Empire. This medal is one of several owned by the Warrnambool and District Historical Society. It is of some importance as it shows the extent to which civic authorities and individuals in places like Warrnambool were concerned with all things British and the influence of the British monarchy in Australian affairs in the late 19th century. It also shows the importance attached at the time to the position of Mayor, with his name being inscribed on the medal.This is a medal, possibly bronze, with the logo of the Town of Warrnambool on one side and two images of Queen Victoria on the other. Side one: Town of Warrnambool, W.J.Hickford, Mayor Side two: 1837-1897, Queen Victoria’s 60th Year of Reign queen victoria, town of warrnambool walter hickford

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

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

This is a poster advertising an art exhibition by the Warrnambool artist, Robert Ulmann. The exhibition was held in the Naringal Hall in November/December 1982. Robert Ulmann (1927-1999) was born in Zurich, Switzerland where he studied sculpture and painting. After living in Canada for some time he came to Australia in 1969. From 1970 to 1972 he was employed by the Northern Territory Administration as a manual arts instructor to the aboriginal people of Docker River west of Uluru. He exhibited extensively in city and regional galleries and won numerous awards for his artistic works. His love of wildlife extended to his interest in the Southern Right Whale and he was greatly responsible for publicizing the annual appearance of the whales at Logans Beach in Warrnambool and protecting their environment. His studio in Warrnambool is still visited by many tourists. This poster is of interest as it concerns an art exhibition of the work of Robert Ulmann, a well-known Warrnambool artist of the 20th century. This is a sheet of white paper with black edging. It is an advertisement for a Robert Ulmann Art Exhibition. The page has a sketch of three birds with Robert Ulmann’s signature underneath. robert ulmann, history of warrnambool

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

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

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

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

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

This is a photograph of an engraving showing the first train arriving at the Echuca Wharf on 25/09/1865. The photograph appeared in the Illustrated Australian News on 25/09/1865. It also appeared in Susan Preiestly's book, 'Echuca; A centenary history' in 1965 on page 46.. The picture is of interest because it shows the size of the wharf in 1865. It also shows all the crowds to welcome the first train. It also shows the buildings along Murray Esplanade. In the far left the Steam Packet Hotel, Shackell's Bond Store and the St George's Hall, next the The Bridge Hotel. Five large steam ships are visible, all carrying crowds of people. In the foreground is the S.S Melbourne. Two rowing boats are in the left foreground.This engraving is significant because it shows the welcoming of the first train onto the wharf. The photograph shows the size of the wharf in 1865, as well as the street scape and the vessels on the water at the wharf. There is also some activity at Evan's sawmill. There are crowds on the wharf, and lining Murray Esplanade. It also shows that most of the crowd are males, which helped describe the role that women played in public life in the 1880's. A black and white photograph of an engraving of a busy Echuca wharf scene in 1865. The first train is arriving at the wharf. There are crowds of people, and in the foreground is the S.S. Melbourne. On the front of the photograph in the bottom right hand corner are the letters R.G. (Is this the Artist's initials?) On the back of the photo, written in pencil are the words "Day first train came through to the wharf. Of interest because of buildings far left. Steam Packet 1865. From Ilustrated Australian News. 25th September 1865."echuca wharf, susan preistley, railways, state library of south australia., illustrated australian news., s.s.melbourne, steam packet hotel, shackell's bond store, st george's hall, bridge hotel

This letter book contains letters written by representatives of the Warrnambool Lance Patent Pan Company to agents in Western Australia during the period 1896 to 1913. This company was formed to market the Lance Patent Cess Pan produced by George Lance in Warrnambool. The Western Australian venture did not prove profitable for the company. George Lance was a Warrnambool plumber and gasfitter who produced the Eureka Pump and the Lance Patent Cess Pan. The latter sold widely in Victoria with the Warrnambool Council owning 1700 of these pans in 1896. George Lance was also prominent in Warrnambool as a musician, artist (eleven of his works are in the Warrnambool Art Gallery)and local history writer. He was also involved in the development of the Warrnambool Mechanics Institute and the establishment of the Warrnambool School of Art and Design and the Warrnambool Art Gallery. This letter book is of considerable interest as it gives details on one aspect of the George Lance invention of the Patent Cess Pan (its marketing) and George Lance played an important role in Warrnambool's late 19th century history.This is a letter book of 506 pages. It has a hardboard cover with a mottled red pattern and red binding on the spine. The pages contain an alphabetical index and copies of letters handwritten in black ink. There are many blank pages. The letter book cover is torn at the edges.george lance patent cess pan