THE HARBOUR LIGHTS GUILD The ‘Ladies Committee’ was formalised in 1906 to assist the chaplain with the social demands of the Mission, and was renamed the ‘Ladies Harbour Lights Guild’ the following year. According to former members, it operated with all proper decorum and with precise guidelines that restricted women from coming into contact with seafarers outside of Mission activities. With some 1,600 Victorian members during its early years, these volunteers gave their prayers, money, handiwork time and considerable energy in order to assist in providing for the welfare needs of visiting seafarers. The heritage chapel of St Peter, often referred to as the Mariners’ Chapel, features many examples of stained glass. Commemorating the service of Mercantile mariners, the funds to build the chapel were raised by the ladies of the Harbour Lights Guild. This window, titled ‘Faith’, was installed in 1933 to commemorate the devoted service of Miss Ethel Godfrey, a founding key member of the Ladies Harbour Lights Guild.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to Ethel Godfrey, and two photographs of ladies from the Harbour Lights Guild.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: a member of the Harbour Lights Guild dancing with a Tongan man at a social event during the 1960s. BELOW: A group photo of the ladies of the Harbour Lights Guild in front of the stage at the Mission to Seafarers Victoriareflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, ethel augusta godfrey 1861-1935, lhlg, harbour lights guild, ladies harbour lights guild, dance, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, catherine mclay, arthouse

ENTERTAINMENT AND SOCIAL EVENTS The Ladies of the Harbour Lights Guild played a central role in everyday functions of the Mission to Seafarers. Concerts and social events were held nightly all the year round, as were special events on Cup Day, the King and Queen’s Birthdays, Christmas Day, Boxing Day and New Years Eve. Ladies of the Guild and other friends of the Mission contributed greatly to the organisation of such occasions, which provided great comfort to seafarers so far removed from home and their loved ones. As one seafarer remarked: “Ah miss, it is not so much the concerts and picnics that does us men so good, but that you ladies will come and talk to us”. This window, titled ‘Hope’, was installed in 1933 in memoriam of one of the founders and long- standing members of the Guild, Miss Alice Tracey, who passed away in 1932. She is remembered as a much- loved leader and key member of LHLG.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to Alice Sibthorpe Tracy, a photograph of ladies pin the kitchen in the Flinders Street building, and seamen dressed up during a picnic.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: Volunteers preparing meals for a social event, circa 1950s BELOW: Seafarers dressed for the "final heat"of the costume race at the 1926 Christmas Day picnicreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, alice sibthorpe tracy, social events, kitchen, lhlg, picnic, fancy dress, seamen, sailors, catherine mclay, arthouse

FRIENDS OF THE MISSION The Mission has always relied heavily on the patronage of its volunteers and sponsors who are kind enough to donate much-needed funds, time and expertise. In its first year, the Mission had only 99 pounds to its name, 90 pounds of which was taken up by the chaplain’s salary! Today the Mission is overseen by a Board of Directors and is run by a dedicated team of employees and volunteers. Even though developments such as containerisation in the shipping industry have meant that the number of seafarers on each vessel and their time spent in port has been drastically reduced, the needs of seafarers are just as pressing today as they were when the Mission first began. This window, titled ‘Jesus in the House of Martha and Mary’, was installed in 1947 in memory of Karen Brady, a volunteer and friend of the Mission, dedicated to providing for the needs of seafarers. This window is symbolic of the continuation of such needs in modern times.ontextual or historic information Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to member of the Guild, Karen Brady, who died during a black out hit by a car while she was on her way back home from the Mission, and two photographs of social activities organised for seafarers.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: Ladies handing out light refreshments to seafarers during an outang at the Melbourne Zoo in 1907 BELOW: A full house awaiting New Years Eve dinner followed by entertainment in 1927reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, karen brady, lhlg, picnic, social events, catherine mclay, arthouse

A KEY MELBOURNE LANDMARK Although primarily dedicated to providing for the welfare of visitors from abroad, the Mission has always been a community-based organisation, and its doors are always open to the general public. Today, the Flinders Street complex lends its ample space to a variety of community pursuits – including yoga classes, religious sermons and gallery exhibitions. The Mission also continues as a popular venue for weddings and other social events, mainly due to the endearing historical connections and unique architecture and ambience. It is a distinctive and significant feature of Melbourne’s riverside streetscape. This window, titled ‘Thou of Little Faith’ is part of a pair that were installed at around the time the Mission was built in 1917. It is dedicated to a prominent family member of the ‘Forges of Footscray’ store fame, who were great supporters of the Mission’s work.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the window in memry of James Leslie Forge, a photograph during a service in the chapel and a wedding photograph.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE RIGHT: Sunday services in St Peter the Mariner's chapel, attended by seafarers and the public, circa 1950s BELOW RIGHT: Mr and Mrs Lee under the arches after their wedding at the Mission on May 1st, 1967reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, james leslie forge, weddings, service, chapel of saint peter, catherine mclay, arthouse

THE SEAS IN WARTIME During WWII, as many as 27,000 men of the merchant and the King’s navy perished during active service. Dedicated to seafarers’ wellbeing, the Mission’s spiritual roots also make it a place for reflection on the loss of human life at sea. The Mission to Seafarers’ ministry offers its support in hundreds of seaports around the world, and has played an important role in supporting those who have lost friends and family at sea during wartime. Many of the stained glass windows in the chapel are dedicated to these people, and represent many close maritime community relationships. This window was installed in 1947 in recognition of the heroism and courage of those who have served in the Merchant Navy, and in particular to those who lost their lives aboard the armed merchant cruiser, ‘Jervis Bay’. This vessel was attacked by an enemy packet battleship whilst leading an escort from Nova Scotia to the UK in 1940.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the memorial window to the Jervis Bay crew, a group photograph of the seamen from the SS Siltonhall and a group photograph of seamenFramed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: ABOVE: VThe crew of the SS Siltonhall found refuge at the Mission in October, 1929, after their ship had caught fire and was abandoned in the Indian Ocean BELOW: A group of seafarers enjoying refreshments at the docks provided by volunteers from the Missionreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, hms jervis bay, ss siltonhall, siltonhall, ww2, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, catherine mclay, arthouse

MIGRATION Travel is a luxury for most people, and although seafarers undoubtedly face hardships as part of their profession, they are also able to experience parts of the broader world than that of friends and family at home. The stories and experiences of seafarers - together with the work of the Mission to Seafarers ministry - contribute to the archive of ongoing global links and narratives of world trade and migration. As an example of this, in 1917 alone the Mission directed almost 6,000 letters written by visiting seafarers home to their families abroad, and received almost 3,000 letters in return. After experiencing Melbourne through the Mission, many seafarers later chose to make the city and Australia their home, and some chose to marry their partners at the Mission’s chapel. This pair of windows, titled ‘Baptism’ and ‘Holy Spirit’, was installed during 1933 and represents the integral links between seafaring and the world.Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. This frame is showcasing the lancet windows in the baptistry ad a photograph of the Eiffel Tower taken by Allan Charles Quinn during one of his voyages.Framed and mounted on black cardboard of black and white and colour reproductions from the MTSV collection for the exhibition Reflections of the Sea with brief label signageon label: A snapshot of the Eiffel Tower with Australian seafarer Allan Charles Quinn in the foreground, taken during a voyage to France in 1956reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, creative victoria, prov, mission to seafarers, stained glass windows, justine m. philip, flinders street, allan charles quinn, eiffel tower, france, travel, migration, baptistry, paris, catherine mclay, arthouse

164 pages, softcover with colour illustrations.non-fictionThe first comprehensive study of the life and work of Ray Honisett [1931-2019], one of the most significant illustrators of his generation and the doyen of Australian aviation art.ray honisett, gavin fry

This window, in memory of Alfred Gurney Goldsmith, was unveiled on 9 February 1927 by Archdeacon Hayman along with the brass tablet in the Mission's hall. (AR 1927). It was created by George H. Dancey from Brooks, Robinson & Co, at a cost of £57. Arched windowsaltar, st peter chapel, flinders street, mission to seafarers, seamen's mission, mission to seamen, st peter, sailors, seamen, anchor, stained glass windows, win, memorial chapel, reverend alfred gurney goldsmith, kobe, william holman hunt, the light of the world, george dancey (1865-1922)

Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June-July 2013 and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip.For over 150 years the Mission to Seafarers in Victoria has continued to meet the welfare needs of seafarers who arrive on Australian shores from around the world. This exhibition presents a selection of stained glass windows and historical photographs from the Mission, to capture a glimpse of some of the people and scenes integrale to this relationship.Cream colour, medium size poster on foamboard with title of the exhibition, a quote by Walt Whitman, an illustration, a quote by Kverndal, statement, ackowledgement and sponsorsreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, justine m. philip, mission to seafarers, flinders street, creative victoria, prov, stained glass windows, arthouse, catherine mclay

Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June-July 2013 (opening night 17 June 2013) and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip.For over 150 years the Mission to Seafarers in Victoria has continued to meet the welfare needs of seafarers who arrive on Australian shores from around the world. This exhibition presents a selection of stained glass windows and historical photographs from the Mission, to capture a glimpse of some of the people and scenes integrale to this relationship.Cream colour double sided flyer with title of the exhibition, a quote by Walt Whitman, at the back: statement, date and location of the opening exhibition and sponsorsreflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, justine m. philip, mission to seafarers, flinders street, creative victoria, prov, stained glass windows, arthouse, catherine mclay

Reflections of the Sea was an exhibition of 10 framed montage of photographs from the mission's archive collection showcasing 10 stained glass windows from the St Peter chapel. This exhibition curated by Georgia Melville and Catherine McLay, and funded by PROV and Creative Victoria, was displayed in the World Trade Centre Wharf Gallery in June-July 2013 (opening night 17 June 2013) and toured to Queenscliff Maritime Museum. The photographs of the windows were taken by scientific photographer Justine M. Philip. The high tea held on 29 June 2013 was an opportunity to visit the exhibition.For over 150 years the Mission to Seafarers in Victoria has continued to meet the welfare needs of seafarers who arrive on Australian shores from around the world. This exhibition presents a selection of stained glass windows and historical photographs from the Mission, to capture a glimpse of some of the people and scenes integrale to this relationship.Slightly pink cream colour flyer An invitation to enjoy an afternoon of high tea and heritage at the Memorial Chapel of St Peter / 2pm-4pm-Saturday 29 June 2013reflections of the sea, georgia melville, exhibition, 2013, world trade centre, wtc, justine m. philip, mission to seafarers, flinders street, creative victoria, prov, stained glass windows, arthouse, catherine mclay

Margaret Woodward is a an artist and an an associate professor of design at Charles Sturt University. Artist statement: "The Sea is All Around us is a multi-layered event which creates a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event acknowledges and raises awareness of the often difficult and dangerous working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation at the Dome Gallery in the Mission to Seafarers in Melbourne’s Docklands marks the third stage of an ongoing research project which seeks to reveal the ‘social life’ of souvenirs. Beyond their representational role souvenirs also trigger intangible, affective qualities – reminders of journeys and places, new associations with tastes, sounds and people, and thereby becoming objects which focus and hold memories. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery became an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery was inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation are given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. Like messages in bottles they leave our shores, becoming ambassadors, representing the Dome Gallery at the Mission to Seafarers, the waters of Port Phillip Bay, Australia’s red soil and vegetation, and carrying memories of visiting Melbourne." The Mission has always been open to the community and has a tradition of hosting cultural events: shows, concerts, exhibitions, festivals.Small flyer in PDf for the art installation by artist Margaret Woodward at the Mission to Seafarerscultural events, norla dome, mso, 2015, art installation, margaret woodward

EXHIBITION in the DOME The Sea is All Around Us - Margaret Woodward 11-21 May 2015 Dome Gallery – Mission to Seafarers, 717 Flinders Street, Melbourne, Australia. 37 º 49'21" S 144º 57'03"E Hours: Daily 11.00am - 4.00pm The sea is all around us is a multi-layered event which will create a memorable experience for those visiting the Dome Gallery and the Mission to Seafarers in Melbourne’s Docklands. The event will acknowledge and raise awareness of the working lives and journeys of seafarers by making visible their role in transporting commodities, materials and objects to and from Australia’s shores. This installation invites seafarers and visitors to participate in a global project which aims to witness sea journeys and trace the mobile life of seafarers and souvenirs. For a fortnight in May 2015, the Dome Gallery will become an architectural large scale compass, with the circular floor marking the intersection of its latitude and longitude (37 º 49'21" S 144º 57'03"E). Over these two weeks the Dome Gallery will be inscribed with marks recording journeys made by seafarers, recording destination and departure ports, home lands and waterways, and in doing so making visible a small segment of the global patterns of seafaring. Custom-made souvenirs designed for the installation will be given to seafarers as gestures of welcome and a memento of their visit. The souvenirs originating in Poland will continue their journey by sea, to destinations beyond the Dome becoming part of the global network of seafaring, with an invitation for seafarers to record their future journeys using QR code scanning technologies. It is hoped that by releasing the 200 limited edition souvenirs accompanying the seafarers the mobile life of souvenirs and seafarers will also become visible. For more information visit the website: sensingtheremote.net Margaret Woodward is Associate Professor of Design at Charles Sturt University For a fortnight in May 2015, Margaret Woodward was ‘in residence’ at the Mission to Seafarers Norla Dome Gallery with her participatory installation project "The Sea is All Around Us". The floor of the gallery became a large scale compass. Seafarers were welcomed to the gallery their ships, journeys and destinations were recorded and mapped on the floor drawing. Seafarers were welcomed with cake and souvenir mugs of tea. These mugs, a momento for the seafarers, were inscribed with a scannable QR code and an invitation for seafarers to record their journeys on a dedicated project website. Around 120 souvenirs are now continuing their journey by sea and seafarers have scanned the mugs from locations including Singapore, Brisbane, Fremantle, Adelaide, Busan and Johor! After the exhibition Margaret Woodward was able to follow the seafarers' whereabout: ""The Sea is all Around Us". I am in awe of where this project might go, well done Margaret. One week has passed since finishing up at the Mission to Seafarers Victoria. Today I check my website and can see that the cup-carrying seafarers are reaching warmer climates, they tell me it’s getting hot as some are already in Suva and Port Lautoka. I’ve watched the souvenirs travel and fan out from Melbourne, some West to Adelaide and Fremantle, others going north to Sydney Brisbane, Singapore and Busan. Another seafarer scans in from Changi Airport, excited to be going home for some time with his family in the Phillipines. I keep an eye on my ‘fleet’ of 22 ships that visited the Dome Gallery, and see where they are on the Live Shipping website, watch some of them sail up the coast of Western Australia and marvel at the steady pace this journey takes. I am so used to flying over coastlines and countries in a matter of hours, impatiently watching the tracking screen from my airline seat, this shipping pace seems so much more real, so much more of a passage. I feel connected to these ships, to the people on board, to know that an object has passed from my hands to theirs, now holding in it my cargo of concern."margaret woodward, installation, exhibition, norla dome, 2015, sea voyage, sea journey, cultural events

Robert Ulmann was born in Zurich, Switzerland, where he studied sculpture and painting, exhibiting annually with the National Art Society of Switzerland and in Paris, Munich and Stockholm. He migrated to Canada in 1956 and became a Canadian citizen. After working on the restoration of sculpture on the west wing of the Parliament Buildings Ottawa, he took up a Government appointment as one of six artist advisers to the Eskimos, initiating handicraft and sculpture programs in isolated settlements across the Central Arctic. He arrived in Australia with his Australian wife, Helen, in 1969, after two adventurous years backpacking and sketching through the United States, Central and South America and the South Pacific. From 1970 to 1972 he was employed by the Northern Territory Administration as a manual arts instructor to the aboriginal people of Docker River, a remote settlement west of Ayers Rock. A series of drawings from this period was exhibited by the Department of the Interior in Canberra, Sydney and Adelaide. Robert Ulmann’s paintings and prints of wildlife from Australia and overseas fill a beautiful studio overlooking the famous Logans Beach whale nursery at Warrnambool in the Western District of Victoria. His previous studio and home, together with 13 years of field sketches and his best work collected together for two books were destroyed by the Ash Wednesday fires at Naringal in 1983. Rob exhibited in Sydney, Melbourne, Adelaide and Perth as well as in the Regional Galleries of Warrnambool, Ballarat, Portland and Horsham, and, among numerous prizes, he won the award for watercolour at six of the annual exhibitions of the Wildlife Art Society of Australasia, between 1978 and 1983. Although his principal interest was in drawing and painting, he retained a fascination with sculpture. His works range from two stone fountains with figures commissioned by the City of Zurich, while he was still a student, to a 4 ½ ton sculpture in bluestone commissioned in 1977 as a memorial to Sir Fletcher Jones., a five metre representation of whale tails in steel, and a life-size bronze of St. John of God commissioned for a private hospital.Image of a goat beginning to rise from a seated position, possible struggling out of mud. Painted in yellow and brown tones, with blue shadows. Earth colours form a rough ground area surrounding the goat. A brown wash provides a cursory background behind the goat's head. Dark cream matt surrounds image. Gold painted wooden frame, with glass.Front: Robert Ulmann (lower centre, paint) Back: (no inscriptions)

296 p. : ill., ports A hard cover book with a dust cover and a plastic clear cover over that. On the dust cover front and back there is a picture of a man and a woman ( early settlers) out in the bush.On the back cover the woman is holding a baby. The inside covers front and back show an old photo of a man leaning on a gate talking to a woman in the front garden of a house. non-fictionTraces the history of Pioneer Women in Australia from the Stone Age ( Aboriginal Women) up to 1975. The author has concentrated on women that settled firstly in the bush with their families and the hard life they endured in this environment. australia, pioneer, women, history, pastoral, goldfields.

Minin Gate at Midnight is a painting by Australian artist Will Longstaff. Longstaff completed the painting in 1927 and the original is now located at the Australian War Memorial. The painting depicts ghostly soldiers marching across a field in front of the Menin Gate War Memorial.Longstaff painted the work after attending the unveiling of the Menin Gate Memorial, at Ypres, on 24 July 1927. The memorial commemorates the men of the British Empire, including Australia, who died during the 1st World War around the town of Ypres. A print of the Menin Gate at Midnight, oblong in shape, framed in a timber frame, a cardboard matte surrounds the print.Careys Picture Framing Gallery, Professional Framing, Shop 13 Packington Arcade, 129 Packington Street, Geelong West. A brass plaque is also attached to the Print.menin gate, longstaff, ww1, australian war memorial

Displayed in the Bruthen Shire office untill shire ammalgamation Localy historicaly significantPrint framed under glassPresented to the Shire of Tambo from the Bruthen Sub-Branch R.S.L.I.L.A. June 9th 1925 (RHS) Presented to the Australian Commonwealth Governement by Austin Taylor esq London (LHS) From the original picture by Charles Dixon now in the National Art Gallery Sydneyanzac, landing at anzac cove, 25th april 1915, shire of tambo, austin taylor esq london, charles dixon, national art gallery sydney

Folder of information on Percy Leason, Artist, Cartoonist, Historian, Anthropologist, Eltham, 1930s. 1. Photo: ANOTHER WIREGRASS PROBLEM: A well known artist who has gone to the bush to be alone with Nature, is discovered, By Percy Leason 2. Photo: SCENE DURING THE EIGHT HOURSS' DAY SPORTS AT WIREGRASS, By Percy Leason 3. Photo: "FIRE!": "An unfortunate occurrence. When the members of the Wiregrass Fire Brigade assembled at the Fire Station last evening for their weekly practice, they were horrified to discover that the building was on fire." - WIREGRASS WEEKLY CLARION, By Percy Leason 4. Photocopy: "Goliath and the Prodigal David" by Percy Leason 1931 5. Photocopy: "Yes you are improving the place. I'll have to increase your rent." by Percy Leason 1933 6. Photocopy: Cartoon by Percy Leason 1931 7. Photocopy: Cartoon by Percy Leason 8. LEASON, Percy Alexander, Painter and Illustrator; Who's Who in Australia, XIVth Edition 1950 9. LEASON, Percy Alexander, Painter and Illustrator; Who's Who in Australia, date unknown 10. Percy Leason 1889-1959 11. LEASON, Percy Alexander, 1889-1959, Painter and Illustrator 12. Percy Leason: Artist, cartoonist and Historian, by L.J. Blake, B.A., B.Ed., M.A.C.E. (President of the R.H.S.V.); An Address to the Society on Tuesday evening 27 August 1968; The Victorian Historical Magazine, pp 158-180 13. Catalogue: The Percy Leason Collection on view in The la Trobe Library 20 September - 29 October 1971 14. Invitation: Christmas Exhibition, The Wiregrass Gallery, 4 December 1977 15. Newspaper clipping: Artist's retreat, 1980 16. Newspaper clipping: Sharper than snapshots by Giles Auty; Arts, Review, The Weekend Australian, November 13-14, 1999 17. Works by Percy leason held by Castlemaine Art Museum, October 2018alan whitmore estate agents, biography, eltham*, exhibition catalogue, la trobe library, landscape, percy leason, rhsv, shire of eltham pioneers photograph collection, wiregrass gallery

This is a souvenir mug produced for visitors to the ‘Mary Rose’ Exhibition in Warrnambool (December 1994 to February 1995). The ship ‘Mary Rose’, built in Portsmouth, England in 1509-10, was historically of major significance. She was the spearhead of a master plan to give England superiority on the high seas. Using new technology of the time, heavy artillery was mounted on the lower decks of this ship and this overloaded the ship. In 1545 she sank in Portsmouth Harbour with the loss of 700 lives as she was about to set sail to defend the English against the French invaders. In 1982 the hull of this ship was raised to the surface and the contents recovered. Over 200 items from the wreck were brought to Warrnambool and displayed in 1994-5 at the Warrnambool Art Gallery. This mug is of interest as it is a memento of the ‘Mary Rose’ Exhibition held in Warrnambool in 1994-5. This exhibition was an important event in the 1990s in Warrnambool and attracted many visitors. This is a cream-coloured china mug with a handle and a raised black and cream image of the ‘Mary Rose’ ship on one side and printed material in brown on the other side. It has the distributor’s name on the bottom with a map of Victoria and a brown dot showing the location of Warrnambool. It is a souvenir of the ‘Mary Rose’ Exhibition held in Warrnambool in 1994-5. “Mary Rose” Exhibition Warrnambool 1994-1995 Lady Bay Creations Warrnambool Australia mary rose ship, mary rose exhibition in warrnambool, history of warrnambool

246 p. : ill. (some col.)Agony down under: Australian artists addressing AIDS /​ Ted Gott Allan from Sadness: a monologue with slides /​ William Yang Art from the Pit: some reflections on monuments, memory and AIDS /​ Simon Watney America: where angels don't fear to tread /​ Thomas Sokolowski The war on culture /​ Carole S. Vance Read my lips /​ Jimmy Somerville For a friend /​ Jimmy Somerville, Richard Coles Self-documentation, self-imaging,: Australian people living with HIV/​AIDS /​ Kathy Triffitt, co-ordinator Aesthetics and loss /​ Edmund White Psycho-cultural responses to AIDS /​ Dennis Altman Faces of AIDS /​ Lynn Sloan Lovers and friends /​ Richard Coles Where the streets have new aims: the poster in the age of AIDS /​ Ted Gott OI: opportunistic identification, open identification in PWA portraiture /​ Jan Zita Grover Don't leave me this way: art in the age of AIDS : catalogue of works.

This item was given to the Historical Society in 1972, with the donor indicating that the spirit level belonged to the Henty family. The Hentys of Portland are regarded as the first permanent settlers in the State of Victoria (1834). Stephen Henty, with his brother Edward, was involved in the whaling industry in Portland. He also had shipping interests, operating a regular Western District shipping service (‘Champion’, ‘Lady Bird’, ‘Western’, ‘Edina’ etc) and a property ‘Cadnook’, near Harrow. Stephen Henty had close connections with Warrnambool not only because of his shipping interests but also because he was the brother-in-law of an early Warrnambool Harbour Master, Captain Frank Helpman. A spirit level was an essential tool for early settlers as they often built their own homes and constructed the roads nearby, needing to ascertain if what was being constructed was on level ground.It does not seem possible to establish whether this item belonged to the Henty family or to a Henty property. But in the Historical Society collection we have a piece of sheet music which includes the handwriting ‘Mrs Smalpaige, Cadnook’, ‘S. J. Henty’ and the date ‘8th August 1859’. Also the Warrnambool Art Gallery has an authentic Henty piano dating from 1837 and Stephen Henty’s wife died in Hamilton in 1906 so it is possible that the spirit level came to us from a Henty family descendant living nearby via Mr N. Kelly. If the Henty provenance can be proved then this item is of high significance.This is an unvarnished wooden spirit level, apparently home made, with a bubble in the centre. The top has been attached with eight screws, now much rusted. There appears to be some letters in the bubble area but they have not been deciphered “Hentys spirit level, oldest in Australia” is written in ink on the back of the objectspirit level, henty brothers portland, warrnambool, henty family

The wedding dress was worn by Amy Wilton for her marriage at St John's Presbyterian Church. Photograph (media attached) shows bride wearing the dress.This wedding dress is socially significant because of its historic connection with Warrnambool through local families that still reside in the city and contributes to the understanding of the era. It has artistic and aesthetic merit and is a good example of fashion, style and design of the era. (refer catalogue Gorgeous Garb, Buda, Castlemaine p2 and The Australian Aesthetic Wedding Dress 1822 to 2011, Bendigo Art Gallery, p 5,10,12,17)A magnolia silk velvet wedding dress worn by Amy Wilton for her marriage to Ronald Wade (born 30 September 1912) on 19 April 1937 at St John's Presbyterian Church, Spence Street, Warrnambool.wade, wilton, wedding dress, 1937

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Three colour photographswalter withers rock, walter withers reserve, mary owen

[from EDHS Newsletter No. 75, November 1990:] WALTER WITHERS PLAQUE At long last we have unveiled our plaque in the Walter Withers Reserve. The function was attended by a number of members and friends of the Society and descendants of the Withers family. Following the unveiling, the group proceeded to the Eltham Shire Office for afternoon tea and a small exhibition of Withers' paintings arranged by Andrew Mackenzie. The unveiling was performed by Mary Owen, a grand-daughter of Walter Withers. Her speech provided an interesting personal perspective on Withers and is repeated in full here: I feel somewhat overwhelmed by the responsibility of paying tribute to the man you have all come to honour today. I have the feeling that most of you probably know more about him and his work than I do. Walter Withers died nearly seven years before I was born and so I never knew him. Sadly, although other members of his family inherited some of his talent, I was not among them and I know very little about art. This is doubly hard to bear because my husband had some ability to draw and my second daughter also has some talent in this direction. My children are all artistic - mostly in the field of music inherited partly from their father - a Welshman who sang like a Welshman - and partly from my grandmother, Fanny Withers who, I believe was no mean pianist. However all this talent gave me a miss and for many years I felt a complete ignoramus in the fields of the arts. It was not until I was nearly fifty years old that I walked into a gallery in Brisbane and, as I wandered around the room, suddenly one picture leapt at me and I knew instantly that it had been painted by my grandfather. I had never seen the picture before and it gave me quite a shock to find that I had recognized the style of painting. I realized then that I had absorbed more than I realized simply by living with pictures and with people who painted them and talked about their painting and the painting of others. When I was a child I sometimes spent school holidays with my Aunt Margery Withers and her husband, Richard McCann. Aunt Marge painted me several times but I'm afraid I was a restless subject and used to sit reading a book and look up grudgingly when she wanted to paint my eyes. During the September holidays my aunt and uncle were busy preparing paintings far the annual exhibition of the Melbourne Twenty Painters, to which they both belonged. I remember how important I used to feel when they took me along to the Athenaeum Gallery on the Friday night before the opening to help hang their pictures. There were many artists there but the two I remember are perhaps surprisingly both women: Miss Bale and Miss Tweddle. I remember how cold it used to be up in that gallery at night. They used to heat water on a gas ring to make tea and Aunt Marge used to bring sandwiches and fruit for our evening meal. Everyone seemed to be poor in those days and no-one dreamed of going out for a meal. It was a case of make-do - even to cutting down frames to fit pictures or cutting pictures to fit the frames. They had to use the same frames from year to year if the pictures didn't sell. The opening was an exciting event for me. I felt I was privileged to meet important people - people who knew a lot more than I - and Uncle Dick would get quite merry after a couple of the tiny sweet sherries which were always distributed. I realise now that quite a lot of "art talk" rubbed off on me during my visits to the Athenaeum and during my stays with my aunt and uncle. I suspect that much of our most useful learning comes this way and those of us who have had the privilege of associating with artists, writers, philosophers and other thinkers have a richness in our lives of which we may be unaware. Walter Withers was a prolific painter and, although he painted for love of it, I suspect that the need to provide for his family drove him, like Mozart, to greater efforts than he might otherwise have achieved. Reading old letters and articles about the Heidelberg artists, I have come to realize something of the constant strain placed on many of them - particularly Withers and McCubbin - by poverty and the need to make ends meet. Withers was ever conscious of the need to provide for his wife and his five children and there are touching letters to his wife, regretting that he was not able to earn more for them. In addition to his painting, he worked hard at teaching and illustrating and, as he grew older, the strain began to tell and his health deteriorated. He seems never to have had a very strong constitution and suffered from rheumatism, which must have made painting quite painful at times. His eldest daughter, Gladys, was eventually confined to a wheelchair with rheumatoid arthritis and I have a tendency to arthritis myself, so I am particularly aware of what this could have meant to him. Recently I found a short letter written by my mother to her mother, Fanny Withers on the anniversary of her father's birthday in 1919, in which she said: "Poor old Dad, I often think now what a lot he must have suffered. His life was too hard and too strenuous for him. He had too many chick-a-biddies, I think. He wasn't equal to so much town life and train journeys with so many delicacies as he had. Since I have been ill, I have realised what he must have felt like.” He certainly drove himself to produce. He travelled all over Victoria by train, buggy, bicycle and on foot and for a time he travelled from Eltham to Melbourne every day by train, although later he lived in Melbourne during the week and only returned to Eltham for the weekends. My mother died seven years after her father's death, when my twin sisters were 10 days old and I was 16 months. So I never knew my mother or my grandfather. But my two aunts, Gladys and Margery, sometimes took me to stay with Gan Withers at Southernwood in Bolton Street . No cars in those days and it seemed a very long hot and dusty walk from the Station. Three memories remain with me of Southernwood. One is the well at the back which I found quite terrifying; the second is Gan killing a snake - even more terrifying. She was a formidable woman, my grandmother and a great ally and support to her husband. I think she was the business end of the partnership. The third memory of Southernwood is my grandfather's studio – down what seemed like a toy staircase inside the room. This and the big walk-in fireplace stayed in my mind from the age of about six until I saw them again about forty years later when the house was being used as a Sunday School. I just wish that money could be found to purchase this old house for the City of Eltham so that a permanent museum could be established in memory of a man who did so much to put Eltham on the map of art history. Recently I have become interested in family history and spent some time in England, Ireland and Wales looking for traces of my ancestors. I realized then how important it is to have records of people who have contributed to our society. We forget so soon and it is amazing how often, within two generations, names, dates and many details are forgotten. We are fortunate that so many of Walter Withers' works have been bought by galleries and that people like Andrew Mackenzie have taken the trouble to search out people who knew him and to write about him and his work. And I am very grateful to the Historical Society of Eltham for recognizing the importance of having a permanent tribute in Eltham to the contribution made by Walter Withers, who loved Eltham so much and who has assured this lovely district a place in the annals of history. I am indebted to Kathleen Mangan; the daughter of another famous Australian painter , Fred McCubbin, - featured in The Age this morning (thanks again to Andrew Mackenzie) for the most apt tribute to Walter Withers. Kathleen is not well and she rang me a couple of days ago, regretting that she could not be present today “to pay tribute” as she said, “to Walter Withers for I always think Walter Withers is the spirit of Eltham.” Thank you, Kathleen. And now I have much pleasure in unveiling the plaque commissioned by the Eltham Historical Society from Bob McLellan of Charmac Industries to commemorate the life and work of Walter Withers, the spirit of Eltham. Mary Owen, 13 October 1990.Two colour photographswalter withers rock, walter withers reserve, mary owen

This photograph shows the entrance to the newly-opened Aitken Gallery of the Kett Optometry Museum, located on the first floor of the Australian College of Optometry.Digital photograph of the entrance of the Kett Optometry Museum's Aitken Gallery. The signage is accompanied by a display of eye baths and ointment pots

Digital photograph of 1930s optometric consulting room in the Aitken Gallery of the Kett Optometry Museum. The photograph is taken looking through the door labelled 'W.E.SMITH. FVOA OPTOMETRIST AND OPTICIAN'. The detailed exhibit shows equipment, instruments and furniture typical of optometry practices in the 1930s.

Uniform worn by Michelle Ferris, a Warrnambool athlete, who was sponsored by Warrnambool Cheese and Butter Factory. Long sleeved yellow lycra top joined to navy shorts, with a zippered front opening. Australian emblem and Sydney Olympics logo. the left sleeve and right leg have stars of the Southern Cross. The uniform is displayed in a wooden frame.On the frame- in appreciation of continued support of the Warrnambool Cheese and Butter Factory Co Ltd. Michelle Ferris Olympic Silver Medalist 1996 & 2000cycling, warrnambool cheese butter factory, ferris michelle, sydney, olympic games, uniforms

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

When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Blaine’s Black Ball Line had commissioned her to be built for their fleet of passenger liners. At a cost of £43,103, the Aberdeen builders designed her to sail faster than the quick clippers designed by North American Donald McKay. She was a three masted wooden clipper ship, built with diagonal planking of British oak with layers of Scottish larch. This luxury vessel was designed to transport emigrants to Melbourne in superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first class passengers. At the launch of Schomberg’s maiden voyage, her master Captain ‘Bully’ Forbes, drunkenly predicted that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The winds were poor as Schomberg sailed across the equator, slowing her journey considerably. She was 78 days out of Liverpool when she ran aground on a sand-spit near Peterborough, Victoria, on 27 December; the sand spit and the currents were not marked on Forbes’s map. Overnight, the crew launched a lifeboat to find a safe place to land the ship’s passengers. The scouting party returned to Schomberg and advised Forbes that it was best to wait until morning because the rough seas could easily overturn the small lifeboats. The ship’s Chief Officer spotted SS Queen at dawn and signalled the steamer. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers were able to disembark safely. The Black Ball Line’s Melbourne agent sent a steamer to retrieve the passengers’ baggage from the Schomberg. Other steamers helped unload her cargo until the weather changed and prevented the salvage teams from accessing the ship. Local merchants Manifold & Bostock bought the wreck and cargo, but did not attempt to salvage the cargo still on board the ship. They eventually sold it on to a Melbourne businessman and two seafarers. After two of the men drowned when they tried to reach Schomberg, salvage efforts were abandoned.32 In 1975, divers from Flagstaff Hill, including Peter Ronald, found an ornate communion set at the wreck. The set comprised a jug, two chalices, a plate and a lid. The lid did not fit any of the other objects and in 1978 a piece of the lid broke off, revealing a glint of gold. As museum staff carefully examined the lid and removed marine growth, they found a diamond ring, which is currently on display in the Great Circle Gallery.33 Flagstaff Hill also holds ship fittings and equipment, personal effects, a lithograph, tickets and photograph from the Schomberg. Most of the artefacts were salvaged from the wreck by Peter Ronald, former director of Flagstaff Hill. The Schomberg, which is on the Victorian Heritage Register (VHR S612), has great historical significance as a rare example of a large, fast clipper ship on the England to Australia run, carrying emigrants at the time of the Victorian gold rush. She represents the technical advances made to break sailing records between Europe and Australia. Flagstaff Hill’s collection of artefacts from the Schomberg is significant for its association with the shipwreck, The collection is primarily significant because of the relationship between the objects, as together they have a high potential to interpret the story of the Schomberg. It is archaeologically significant as the remains of an international passenger Ship. It is historically significant for representing aspects of Victoria’s shipping history and for its association with the shipwreck and the ship, which was designed to be fastest and most luxurious of its day Photograph of the sailing ship Schomberg, mounted in a wood frame behind glass with a white matt Figures can be seen on deck of the ship."Schomberg 1854-1855"warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, shipwrecked-artefact, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, photograph

A gentleman's chair, gent's chair or grandfather chair is a term usually applied in Australia to a deep upholstered Victorian easy chair, often button-backed and with upholstered arms. The chair generally stood on short cabriole legs and had a 'spoon' or a wide balloon back. The 'show wood', that is, the polished frame, was usually mahogany or walnut, although many examples in Australian red cedar have survived. There are Australian versions of the gentleman's chair, ladies chair and matching settees, usually made from cedar, and occasionally from blackwood. As cedar is a softer timber than walnut, mahogany and rosewood, from which the English versions were made, the carving is usually not as crisp as in the imported version. However the Australian blackwood gentleman's chair is often difficult to distinguish from a good quality English walnut example. The Edwardian form of the gentleman's chair is much squarer in outline, with short turned legs and the arms are often supported by spindles. There was sometimes a row of spindles, like a gallery, beneath the top rail. The chairs were frequently upholstered in leather.An item probably made in Australia during the latter half of the Victorian era and is significant as it was made in Australia at a time when furniture and many other household items were imported from either America or England.Cedar Gentleman's armchair, upholstered and buttoned in brown leather, scalloped and carved with Prince of Wales Feather on back, arms are scrolled and carved with Acanthus leaf design and finished on tulip turned legs with brass and porcelain castors. circa 1870 Australian made. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, furniture, chair, armchair