A detailed account of the story of Lone Pine in Gallipoli and how seedlings were grown from a pine cone brought back by Sgt. Keith McDowell. The author and date of this account is not known but was post 1989. The text says: " Gallipoli Lone Pine Lives On The Gallipoli Lone Pine has become a piece of living history in Australia. Every Australian solider who served at Gallipoli, knew Plateau 400 or ‘Lone Pine’ – the scene of some of the fiercest hand-to-hand combat by Australian in World War 1. The Plateau was distinguished by a solitary lone pine which bore silent witness to the heroism and tenacity of Australians who fought there. Lone Pine was a heavily fortified Turkish trench position, identified by a solitary Pinus Halepensis species commonly known as an ‘Aleppo Pine’. (** NB this has since been corrected and the species is not an 'Aleppo pine' but Pinus Brutia, commonly called Turkish pine) At 5.30 pm on August 6th, 1915, Australians of the First Brigade attacked the Turkish trenches under heavy machine-gun and artillery fire. The Australians found the trenches were roofed over with pine logs covered with earth. They clawed the roofing back and jumped into the trenches below. After savage hand-to-hand fighting the trenches were taken by 6 pm. Attack and counter attack continued until August 10, when fighting at Lone Pine ceased, and the position as firmly held in Australian hands. The six Australian Battalions involved lost 80 officers and 2197 men in the battle for Lone Pine. Turkish deaths were estimated at between 5,000 and 6,000. At Gallipoli during the evacuation, 33 men of the 24th Battalion mounted a gallant action. They were left behind to keep up the pretence that the Lone Pine trenches were still occupied. They destroyed the remaining guns, and embarked before daylight 20 minutes before the appointed time, and less than two hours before a storm blew up which would have made withdrawal impossible. Although the Lone Pine was destroyed in the fighting it lives on today in Australia. Which is where the Legacy Lone Pine story begins. During the withdrawal a soldier, Sgt. Keith McDowell, picked up a pine cone from the original Lone Pine and placed it in his haversack as a souvenir. Sgt. McDowell carried the cone for the remainder of the war and when he returned to Australia gave it to his Aunt, Mrs Emma Gray of Grassmere near Warrnambool. “Here Aunty, you’ve got a green thumb, see if you can grow something out of this”, the late Mrs Gray’s son, Alexander, recalled. But it wasn’t until some 12 years later that Mrs Gray planted the few seeds from the cone, five of which sprouted and grew into little trees. One of the pines eventually died but the remaining four survived. In May, 1933, one was planted in Wattle Park on the occasion of the Trooping of the Colour by the 24th Battalion. On the 11th June 1933, the second tree was planted with full military honours by S G Savige of the 24th Battalion, at the Shrine of Remembrance in Melbourne, where it now shades the well-loved statue of Simpson and his donkey. The late Lieutenant-General Sir Stanley Savige KBE, CB, DSO, MC, ED, was the founder of Melbourne Legacy. Formed in 1923, the Melbourne Legacy Club was the first such Club to be established. On the 18 June 1933 the third tree was planted at the Sisters, near Terang, just north east of Warrnambool. This is the area Mrs Gray’s family lived and the home of several Gallipoli veterans. The fourth tree was planted in the Warrnambool Gardens on 23 January 1934. In 1964 Legatee Tom Griffiths, then President of Warrnambool Legacy, put forward the idea that more seedlings should be raised in the Jubilee Year of Gallipoli from the established trees with the object of planting memorial trees throughout Australia in memory of those who fell in action at Lone Pine in 1915. The project was outlined in a paper presented to the Perth Conference in 1965 and was strongly supported. Two batches of cones were sent to Melbourne, one from the tree at ‘The Sisters’ and another from the tree at the Warrnambool Gardens, and the full cooperation of the (then) Forests Commission of Victoria, was guaranteed by the Chief Commissioner, Mr Benallack. Unfortunately, these cones had been gathered too late as the seeds had already been cast, and the few seeds that survived failed to germinate. However, Melbourne Legacy then undertook the propagation and distribution of seedlings. With the assistance of the Shrine of Remembrance Trustees, permission was granted by the Melbourne City Parks and gardens Curator to harvest a limited number of cones from the 24th Battalion tree at the Shrine and these were gathered by the Forest Commission and after the necessary preparatory treatment were planted in the Commission’s nursery at Macedon. Approximately 150 seedlings were raised from these cones by Dr Grose, Director and Silviculture. Melbourne Legacy’s Commemoration Committee was responsible for the collection, propagation, presentation and dedication of Lone Pines from the 24th Battalion tree at the Shrine of Remembrance. One the 14 September 1989 further cones were collected with the hope to raise 1000 trees from the seeds. This could not have been done without the invaluable assistance of the Department of Natural Resources and Dr Peter May at the Victorian College of Agriculture and Horticulture in Richmond, Victoria. Thus, Legacy is helping to keep the memory of the Gallipoli ‘Lone Pine’ alive – its spirit living on today. Presentations are made to schools, ex-service organisations and interested bodies by Legacy Clubs in the hope that they will be cherished as a symbol of Australian nationhood and of its just pride, devotion, courage, selflessness and sense of service to others. "The Legacy Lone Pine program helped promote the Anzac story throughout Australia.White A4 paper with black type x 3 pages recounting the story of Legacy's propagation of Lone Pine seedlings. lone pine, gallipoli

This particular species is native to Australia and can be located throughout the mainland, preferably in the south-western interior. It is known for its distinctively upturned bill, the males of this species have a slightly more upturn to their bill than the female. This style of bill is unusual among birds and is used to assist them forage in the water of shallow wetlands. These birds feed on aquatic insects, crustaceans and seeds. The name of this species is derived from the distinctive chestnut brown/red colouring of the head and neck. Interestingly, the call of this bird has been described as a "yapping" sound which is similar to the sound of dogs barking when performed by a flock in flight. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Red Necked Avocat specimen is stylized in a standing position upon a wooden platform. There is a pale brown identification tag tied around its left leg. The bird has long pale grey coloured legs and a characteristic long, thin and black upturned bill. The plumage of this species is largely white. It has a chestnut brown/red coloured head which is where this species gets its name. The wings are white with black tips.25c. / Avocet / Catalogue, page, 36. / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, large bird, red necked avocat, avocat

This particular species is native to Australia and can be located throughout the mainland, preferably in the south-western interior. It is known for its distinctively upturned bill, the males of this species have a slightly more upturn to their bill than the female. This style of bill is unusual among birds and is used to assist them forage in the water of shallow wetlands. These birds feed on aquatic insects, crustaceans and seeds. The name of this species is derived from the distinctive chestnut brown/red colouring of the head and neck. Interestingly, the call of this bird has been described as a "yapping" sound which is similar to the sound of dogs barking when performed by a flock in flight. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Red Necked Avocat specimen is stylized in a standing position upon a wooden platform. There is a pale brown identification tag tied around its left leg. The bird has long pale grey coloured legs and a characteristic long, thin and black upturned bill. The plumage of this species is largely white. It has a chestnut brown/red coloured head which is where this species gets its name. The wings are white with black tips.24c. / Avocat / Catalogue, page, 36. /taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, large bird, red necked avocat, avocat

Ferdinand von Mueller was born at Rostock, Germany, on 30 June 1825 , died at Melbourne, Australia, on 10 October 1896. He studied pharmacy and took his Doctor of Philosophy at the University of Kiel in 1847. He came to Australia in 1848 for health reasons and became a great botanical collector and writer. He was Victorian Government Botanist from 1853, and for a time Director of the Botanic Gardens. He travelled widely in Victoria and was on the A.C.Gregory expedition to northern Australia in 1855-57. He supported botanical exploration and collecting throughout the colonies. Charles Henry [Carl] Grove died on 17/4/1938 at Box Hill at the age of 88 and was buried in Orbost. Prior to coming to the Snowy River district, Carl worked as overseer on Buchan Station. In 1880, he selected land at Newmerella after first coming here in 1874 with early selector James A Robertson. He married Annie Robertson in 1876. Carl was a farmer, hop and seed grower and nurseryman. He was an elected Councillor of the newly formed Tambo Shire in 1882, and then in 1892 to the Orbost Shire where he served for many years filling varioius public roles. In 1911, he shifted to Queensland, but later returned to Victoria and died at Box Hill. (Ref. Nov 2014 Newsletter) Mueller was one of the first people to take a scientific interest in Victorian forests, and argued against indiscriminate clearing of land. This item is a useful research tool. It is associated with Carl Grove, a prominent early resident of Orbost.A black book with the title "Key To The System of Victorian Plants 1" in gold print.inside cover - "To Carl Grove from Baron Von Mueller March 1896"von-mueller-ferdinand botany-victoria plants-victoria grove-carl

This life jacket was issued by the Australian Government's General Naval Store in N.S.W.. It was inspected in 1940. Life Jackets - Life jackets were part of the equipment carried by the Life Saving Rescue Crew of South Western Victoria, including Warrnambool, from around 1858 until the 1950s. The purpose of a life jacket is to keep the wearer afloat until he or she is rescued from the water. Life jackets were first invented in 1854 by Captain Ward of the Royal National Lifeboat Institution in Britain. The early life jackets were filled with cork, which is very buoyant. However, many times he cork caused the jacket to rise up quickly with a force that caused unconsciousness, sometimes turning the person face down in the water , causing them to drown. After the tragic loss of the ship RMS Titanic in 1912 and the lost lives of those onboard, a woman named Orpheus Newman designed the Salvus life jacket (Salvus means safe), which was filled with kapok instead of cork. Kapok comes from seed pods of the Ceiba Pentandra tree and is waterproof as well as buoyant. These Salvus jackets were used by the Royal Navy until new synthetic materials became available around the time of World War II.This life jacket is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Life jacket, canvas covered, with two padded compartments filled with kapok. Designed to slip over the head. it has shoulder straps and straps for tying under the arms. An inscription and symbol is stamped on one shoulder strap. The life jacket was supplied by the General Naval Store, Defence Department, N.S.W., and inspected in in 1940.Inscription "G.N.S. [crown symbol] N.S.W / 12 JUN 1940 / INSPECTED".flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, lady bay, warrnambool harbour, g.n.s., general naval store, 1940s life jacket, captain ward, royal national lifeboat instution, cork, kapok, life jacket, orpheus newman, salvus jacket, life saving, rescue, rescue crew, l.s.r.c., life saving equipment, marine technology, lifeboat, shipwreck victim, vintage

Minnie PWERLE (c1910-2006) Atnwengerrp/Utopia Minnie Pwerle's Dreamings consist of elements of 'Bush Melon' and 'Awelye'. Awelys-Atnwengerrp' is depicted by a series of lines painted in varying widths and colours. These patters represent the lines painted on the top had of women's bodies during ceremonies in Minnie's country of Atnwengerrp. 'Bush Melon' is depicted using linear design of curves and circles in different colours creating a very loose and bold design. This dreaming tells the story of this lovely sweet food that comes from a very small bush and is only found in Atnwengerrp. Once very abundant and fruiting in the summer season, the Bush Melon is now hard to find. Minnie and other women used to collect this fruit (that was green in colour and then ripened to a brown colour) and scrape out the small black seeds. They would then eat the fruit straight away or cut it in pieces and skewer them onto a piece of wood to dry then to be eaten in the coming months when bush tucker was scarce. These artistic symbols carry potent spiritual meanings.. The physical creation of these Dreamings in an important part of the continuation of an ancient and rich cultural heritage. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Awelye & Bush Melon Dreaming, 2004 Acrylic on canvas, over three panels art, artwork, minnie pwerle, aboriginal, anmatyerre language, atnwengerrp country

The Little Friarbird is a migrational bird, moving between northern Australia and the New South Wales/Victoria border in the spring and autumn times. It is primarily found near in forests and near water: rivers, wetlands. They eat nectar, bugs, fruit and seeds. They form monogamous pairs and nest close to water. They are not a threatened species. The Little Friarbird has a brown head, back, wings and tail. Its chest is light brown. Its legs, beak and face are dark grey. It has bright blue patches on its cheeks under the eyes. This specimen does not accurately match how the Little Friarbird looks because the specimen has lost clumps of feathers on its chest, neck and face. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century This Little Friarbird has blue patches on its cheeks, brown head, back and tail. The front and neck are a light brown. Its back is grey. It has serious pest damage to the back of its neck, which has no feathers. Above its eyes shows early signs of pest damage. The front of the bird has ruffled patches of feathers. It stands on a dark wooden stand. It has an identification tag hanging from its left leg. Label: 61a/ Blue faced Honey Eater / See catalogue page 19 taxidermy mount, taxidermy, burke museum, beechworth, little friarbird, australian bird

The Gang-gang Cockatoo can be found throughout much of south-eastern Australia. They reside in mountainous forests and open woodlands, often in small groups or larger flocks at sources of food and water. They eat mainly seeds from native trees and shrubs along with wattles, eucalypts and hawthorns. The Gang-gang Cockatoo is also known to incorporate berries, nuts, fruits and insects to their diet. The sound made by this type of Cockatoo is often described as a rasping screech which resembles the sound of a rusty hinge being moved.This type of call is made when the bird is in flight. These birds also fond of attention and can pick their own feathers if they are bored. The name "gang gang" derives from a New South Wales Aboriginal language, either the Ngunnawal or Wiradjuri. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.The male Gang Gang Cockatoo is standing stylised on a wooden perch. The Cockatoo has a dark slate-grey coloured body with a scarlet red/orange coloured head with a wispy crest. This specimen stands with its wings positioned to its sides and has round glass bead eyes. The bill has a hooked shape and is horn-coloured. The legs and feet of this specimen are dark grey.taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, cockatoo, gang-gang cockatoo, cockie

The Gang-gang Cockatoo can be found throughout much of south-eastern Australia. They reside in mountainous forests and open woodlands, often in small groups or larger flocks at sources of food and water. They eat mainly seeds from native trees and shrubs along with wattles, eucalypts and hawthorns. The Gang-gang Cockatoo is also known to incorporate berries, nuts, fruits and insects to their diet. The sound made by this type of Cockatoo is often described as a rasping screech which resembles the sound of a rusty hinge being moved.This type of call is made when the bird is in flight. These birds also fond of attention and can pick their own feathers if they are bored. The name "gang gang" derives from a New South Wales Aboriginal language, either the Ngunnawal or Wiradjuri. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This female Gang-gang Cockatoo has a grey head and crest with brown glass eyes. The beak is hooked and a pale bone colour. The neck and torso of the cockatoo is patterned with orange and black stripes. The feathers of the underparts and back are slate-grey with an edging of pink and yellow. The female cockatoo has more yellow in their feathers than the males which gives them a further barred appearance. taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, australian birds, australaisian shovelor, shovelor, cockatoo, gang-gang cockatoo, cockie

'The Grange ' was a 2 storey home built 1857 by Mr Charles Tuck, originally named 'Baydon Hill' , at 1011 Nepean Highway, Moorabbin ( South Brighton). Mr Charles Tuck was Veterinary Surgeon from Baydon Hill, Wiltshire, England, who migrated to Australia c1850. He married his cousin Miss Jan Chaudler in Melbourne in1853. He was at the Ballarat gold-fields at the time of the riots and then they settled in South Brighton ( later Moorabbin) and built a large Georgian Styled home called 'Baydon Hill'. The Tucks had a large family - 9 children. Charles enjoyed a prosperous Veterinary Practice as his advice was needed for stock purchases by the farmers / settlers. Charles died in 1893 and Jane left the property c 1903 and died at Blackburn in 1928. The House had 5 owners, the last being the Healey family c1920 and at some stage the name was changed to 'The Grange' and the gates shown were installed. The Healey Family were also prosperous in developing vegetables and flower seeds and seedlings. 'The Grange' was sold to Moorabbin City Council 1972 and then used by the City of Moorabbin Historical Society for meetings and storage of historical material. It was demolished amidst considerable controversy 1983 and the District Police Offices were built on the site. ( S.T.Mulvany, Grand-daughter of Charles Tuck 26/7/1974)The Grange was a significant property 1853 -1983 in Moorabbin. It was built by Mr Charles Tuck 1857and in1900 extended from Point Nepean Road to South Road - 10acres. Mr Harold James Healey purchased the property in c1920 and leased a portion to a Chinese market gardener. Later with his sons he established a profitable Plant Nursery that they managed for 42years.. Keith Healey, a son, remodelled the house extensively mid 20thC .The Moorabbin City Council purchased it in 1972 for $255,000 and it was demolished amid controversy 1983. The District Police Offices are now on the site.3x black and white photographs of the property at 1011 Nepean Highway Moorabbin built by Mr Charles Tuck c1853 known as 'The Grange'. Originally it was named 'Baydon Hill' because he migrated from Baydon Hill, Wiltshire, England c1850. These photographs are c 1880, 1920 and 1950 showing the original and later additions made to the property by some of the 5 owners.Written in pencil on back a) " This Photo donated by Mr Neil Follett - at the time it came into his possession he had a photography studio in Cheltenham. Photographer unknown"; Folio 6 b) The Grange c 1950 Folio 6/10 c) 'Baydon Hill' ( alias "The Grange" ) / Donated by Mrs Elsa Jones, daughter of Leslie Stephen Tuck, youngest son of Charles Tuck Folio 6 /18tuck charles, tuck jane, veterinary surgeons, livestock, market gardeners, early settlers, dendy's special survey, brighton, moorabbin, ballarat, gold diggings, horses, chickens, cattle, bullocks, flower shows, fruit garden, mulvaney s. t., healey haold james, healey keith, moorabbin city council, chinese market gardeners, plant nursery, tuck leslie stephen, jones elsa

This eight compartment life jacket date from around 1918 to 1940s, when kapok was used as the main filling for life jackets. Cork was used before that time, and synthetic materials began to be used from the mid-1940s. Life Jackets - Life jackets were part of the equipment carried by the Life Saving Rescue Crew of South Western Victoria, including Warrnambool, from around 1858 until the 1950s. The purpose of a life jacket is to keep the wearer afloat until he or she is rescued from the water. Life jackets were first invented in 1854 by Captain Ward of the Royal National Lifeboat Institution in Britain. The early life jackets were filled with cork, which is very buoyant. However, many times he cork caused the jacket to rise up quickly with a force that caused unconsciousness, sometimes turning the person face down in the water , causing them to drown. After the tragic loss of the ship RMS Titanic in 1912 and the lost lives of those onboard, a woman named Orpheus Newman designed the Salvus life jacket (Salvus means safe), which was filled with kapok instead of cork. Kapok comes from seed pods of the Ceiba Pentandra tree and is waterproof as well as buoyant. These Salvus jackets were used by the Royal Navy until new synthetic materials became available around the time of World War II.This life jacket is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Life jacket, canvas covered, stitched into eight kapok filled compartments. One canvas strap with brass buckle is attached. Shoulder straps are no longer attached. Rflagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, lady bay, warrnambool harbour, kapok, life jacket, salvus jacket, life saving, rescue, rescue crew, l.s.r.c., life saving equipment, marine technology, lifeboat, shipwreck victim, vintage, captain ward, royal national lifeboat institution, orpheus newman

Colac was the centre of a spidery rail network over which were carted anything and everything by Victorian Railways, the common carrier throughout the area. The main line through the region was the 35 km rail route from Birregurra (and thence to Geelong) though Colac to Pirron Yallock (and thence to Warrnambool and Port Fairy) from March, 1877, to July, 1883. The first branch line ran from Irrewarra to Beeac in 1889, which then extended in stages to Cressy and on the Ballarat. The second branch line was the 31 km long Birregurra to Forrest in 1891. The cost of building railways into mountainous terrain meant the third branch line was a narrow-gauge 2 foot 6 inch line, first of all to Beech Forest in 1902, and then to Crowes in 1911, for a total of 71 km. The final rail connection was the 16 km branch from Colac to Alvie to facilitate the transport of onions, opening in 1923. Each line had its own character and peculiarities derived from its foundation, geography and economic base. As a general rule, the loadings on the branch lines had greater output tonnage than inwards, the reverse of the main line. The lines traversed agricultural and timber areas where inputs like seed, grass, fertiliser and labour were minor, compared with the output, timber, wool, cream, butter, cheese fruit, potatoes, onion, grain and livestock.Rail Centre Colac. Rail stations in the Colac Otway Shire, 1877 to 2014. Norman Houghton. 1st ed. Norman Houghton; Geelong (Vic); 2014. vi, 262 p.; illus., maps, index. Soft cover.colac; cressy; forrest; beech forest; crowes

Thousands of volunteers work tirelessly to conserve and protect the environment of Geelong and the Bellarine. Their work often goes unnoticed. In 'The Work of Nature' the National Wool Museum and the Environment Department at the City of Greater Geelong worked with photographer Nicole Marie to showcase the significant contribution of environment volunteers in our region. Each of the eight people showcased in these portraits were nominated by their peers and members of the community for their significant contribution to conserving and protecting the environment. John Fyfe - Friends of Edwards Point, the Bellarine Catchment Network and many more For over twenty years John Fyfe has been actively involved in all areas of restoring native vegetation on numerous locations throughout the Bellarine. John’s passion for caring for the environment and sharing his vast knowledge has earnt him wide respect from the community. John is not only approachable but a great communicator. His vast knowledge has made the go to person for help on support on all matters regarding revegetation. John introduced direct seeding to the Friends of Edwards Point team, which has been successful on numerous sites within Edwards Points Reserve. The approach has been adopted throughout the reserve. Reflecting on John’s impact to the local community, local residents widely refer to him as a “living legend,” while others simply say, “there should be more John Fyfe’s in the world.” Photo at Edwards Point Wildlife Reserve by Nicole Marie.Image showing an environmental portrait of a man standing in grasslands with trees in the background.environment, conservation, portraits, geelong, nature, exhibition, work of nature, geelong nature forum, volunteers, edwards point

The Fundamentals of Legacy was a paper offered to the Fortieth Annual Conference of the Legacy Clubs of Australia, held in Ballarat from 7th to 10th November 1968, by the Sydney Legacy Club. It was presented by Legatee Daniel S. Aarons, past president of the Legacy Club of Sydney (1946-47). By resolution of the Conference it was printed by Legacy Co-ordinating Council for distribution upon their request to Legacy Clubs. The first part of the brochure examines birth of Legacy growing from the seeds of comradeship that were sown in war service. Comradeship from the deep friendship forged in war time. The second part examines the personal service that is fundamental to Legacy. It includes a story of burial after a fierce battle at Pozieres in August 1916 where the writer witnessed a mate pledge to the deceased "don't worry, our friends, we will look after your widows and children". The final words of the of the brochure. "Legacy is a magnificent monument whose foundations made from everlasting materials, Mateship, Comradeship, and Friendship. The edifice upon that foundation was erected by the dedicated, personal service of a mere few thousand Legatees of whom it may truly be said, that, Never in the history of social service Has so much been done for so many By so few." The notation H65 in blue pen shows that it was part of the archive project that was trying to capture the history of Legacy. A record of speech at a Legacy Conference being reprinted for distribution among Legacy Clubs.Brochure on white paper with black type x 8 pages about The Fundamentals of Legacy.Handwritten H65/1 in blue pen. history, speech

The Great Spotted Woodpecker is found throughout Europe and Asia. They are generally solitary birds and do not migrate unless found in northern climates. They are omnivorous and can extend their tongue when feeding on insects, insect larvae, and seeds, among other things. They generally only stay with the same mating partner for one season and are extremely territorial. The Great Spotted Woodpecker generally has red eyes and a deep red lower belly. The males have a red nape, whereas the females do not. They have a white upper chest and white and black head, back, tail feathers, and wings. Juveniles are less vibrant in colour and their undertails and lower bellies are a dirty pink or brown. This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.This Great Spotted Woodpecker specimen is a juvenile female. The undertail is a faint pink while the head and neck is black and white. The tail feathers and wings are a faded grey-brown and the underbelly is white. This specimen is standing on a wooden mount with a swing tag attached to its leg.Swing tag: 2e(?). / Great-Spotted Woodpecker / Catalogue page, 66 / Metal tag: 4304 / torn swing tag: (?)s ma(?)- / q. / Nord- Deu(?)- / taxidermy mount, taxidermy, animalia, burke museum, beechworth, australian museum, skin, reynell eveleigh johns, bird, great spotted woodpecker, woodpecker

This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. The Regent Parrot has two separate populations separated by the Nullarbor Plain: one in the Mallee regions of eastern Australia, and the other in the Wheatbelt region of southern Western Australia. Though the populations are widely separated, the birds of each region do not appear especially different, one being a little duller than the other. There are, however, other differences between the two populations, especially in how they have fared: eastern populations are endangered, while the western population is thought to be increasing. The Regent Parrot eats seeds of grasses and plants and cereal crops, especially wheat. It also eats buds and flowers, insect larvae, psyllids and lerps. It forages in pairs or small parties, usually on the ground, but also in the canopy of trees or in spilled grain on the ground. The Regent parrot is endangered in NSW and Vulnerable in VIC This Particular specimen has been mounted correctly.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century.A slim parrot with a long, dusky tapering tail and back-swept wings. It is mostly yellow, with blue-black wings and tail. There is a prominent yellow shoulder patch and red patches in the wings. The bill is deep pink. It is mounted on a thin wooden branch that is attached to a wooden mount with the scientific name located Label: T.L. 430MM / W.S. 540MM / WT. 200GMS / SEX [female symbol] Mount: Polytelis / Anthopeplus / Regent Parrot taxidermy mount, regent parrot, taxidermy, animalia, burke museum, bird, parrot

Ferdinand von Mueller was born at Rostock, Germany, on 30 June 1825 , died at Melbourne, Australia, on 10 October 1896. He studied pharmacy and took his Doctor of Philosophy at the University of Kiel in 1847. He came to Australia in 1848 for health reasons and became a great botanical collector and writer. He was Victorian Government Botanist from 1853, and for a time Director of the Botanic Gardens. He travelled widely in Victoria and was on the A.C.Gregory expedition to northern Australia in 1855-57. He supported botanical exploration and collecting throughout the colonies. 681.3 was presented to Carl Grove from G. Tadgell of Flemington. Charles Henry [Carl] Grove died on 17/4/1938 at Box Hill at the age of 88 and was buried in Orbost. Prior to coming to the Snowy River district, Carl worked as overseer on Buchan Station. In 1880, he selected land at Newmerella after first coming here in 1874 with early selector James A Robertson.He was one of the first selectors at Orbost - in 1880 he selected 320 acres at Newmerella, which he called „Ulinda‟ He married Annie Robertson in 1876. Carl was a farmer, hop and seed grower and nurseryman. He was an elected Councillor of the newly formed Tambo Shire in 1882, and then in 1892 to the Orbost Shire where he served for many years filling varioius public roles. In 1911, he shifted to Queensland, but later returned to Victoria and died at Box Hill. (Ref. Nov 2014 Newsletter) Mueller was one of the first people to take a scientific interest in Victorian forests, and argued against indiscriminate clearing of land. This item is a useful research tool. It is associated with Carl Grove, a prominent early resident of Orbost.Three copies of fabric bound book with a deep blue cover and the title, "Key To The System Of Victorian plants" in gold print. It has an ornate border around the edge.inside cover of 681.1 - To H. Grove, March 1891 Ulinda, Newmerella, Victoriaferdinand-von-mueller grove-carl botany plants-victoria

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico bag with yellow and blue graphic text on front.Front: COOK-WELL \ SELF- \ RAISING \ FLOUR \ PREPARED WITH \ PHOSHATE AERATOR \ HENRY BERRY & Co (A/S??Ltd) \ 568 580 COLLINS STREET \ MELBOURNE \ NET 7 LBSwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic image on front showing three bears holding porridge bowls with yellow background and red, white and black text. Back of bag shows red and white graphic image of a woman wearing a dress and heeled shoes holding a coffee cup, with red and white text.Front: THREE BEARS \ PORRIDGE \ FLAKED \ OATMEAL \ SOMEBODYS BEEN TASTIN' MY PORRIDGE \ AN' THEY'VE EATEN IT ALL UP \ Jas. F. McKenzie & Co. Pty. Ltd. \ AUSTRALIA \ 7 LBS. NET. Back: MCKENZIES \ EXCELSIOR \ COFFEE \ ESSENCEwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic image on front showing three bears holding porridge bowls with yellow background and white and black text.Front: THREE BEARS \ PORRIDGE \ ROLLED \ OATS \ SOMEBODYS BEEN TASTIN' MY PORRIDGE / AN' THEY'VE EATEN IT ALL UPwagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with colour image and black text. Image shows a full length brown horse with bridle.Front: PARSONS FARM ANIMAL SERIES No.3 \ SUFFOLK \ The Suffolk, often known as the Suffolk Punch, originated in the County of Suffolk, England \ and is noted for its hardiness. From 15 to 16 hands in height. The Suffolk in general is smaller than \ the Clydesdale. The head is rather coarse, with the neck short. The body long deep and wide with \ a round full appearance. The croup is straight and legs short and free from leather. The invariable \ colour is chestnut, varying from light to dark.wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico oat bag with graphic blue and yellow image and text on front. Image shows head and shoulders of person resting on forearms surrounded by flora. Back of bag shows blue and white image of a cube with text and star graphics.Front: HARPER'S \ STAR \ AVENA \ BRAND \ ROLLED OATS \ ??INCORPOR?? ??STORIA?? \ ????? \ AUSTRALIA Back: THE \ SILVER STAR \ RICE \ STARCH \ ROBERT HARPERS AND CO LIMITED \ AUSTRALIA \ THE \ BEST \ IN \ THE \ WORLD \ WONT \ STICK \ TO THE \ IRON \wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

These domestic kitchen bags were donated to the National Wool Museum by Lila Gore. Lila donated Children’s Clothing (RGE 8324) to the museum in 2022 and at her time of donating, inquired as to whether the museum would also be interested in these bags she had been collecting. Lila said there was no reason as to why she was saving the bags, other than she liked the art works and thought they were too good to end up in landfill. She had thought perhaps she would make something out of the bags, or perhaps give the bags to a friend to make something. When Lila was donating the Children’s Clothing to the museum, she thought that the National Wool Museum would be the perfect home for the bags. Domestic kitchen bags such as these date from the late 19th century through the mid-20th century. They were used at home, usually by women, containing household items which would not spoil, such as flour, sugar, animal feed, seeds, and other commodities. In modern times a trip to the supermarket is a daily chore, in the past however, these trips happened far less often, with big sacks such as these a large reason why. In the rural US and Canada, Feed sack dresses and Flour sack dresses, were an iconic part of rural life from the 1920s through the Great Depression, World War II, and post-World War II years. Australia also reused these sacks, typically for making wagga style blankets, but re-use for clothing was not unusual.Calico flour bag with red, blue, white and yellow graphic image and text. Image shows head and shoulders of a woman wearing a bakers hat. Reverse side shows same image with slightly different text.Front: O*SO*LITE \ SELF-RAISING \ FLOUR \ 25lb \ NET \ THE \ FINEST \ FLOUR \ O-SO-LITE \ PRODUCTS PTY. LTD. \ LENNON STREET, SOUTH KENSINGTON \ VICTORIA 13 0261 \ SELF RAISING \ SELF RAISING \ SELF RAISING Back: O*SO*LITE \ SELF-RAISING \ FLOUR \ PREPARED WITH PROSPHATE AERATOR \ 25lb \ NET \ THE \ FINEST \ FLOUR \ O-SO-LITE \ PRODUCTS PTY. LTD. \ LENNON STREET, SOUTH KENSINGTON \ VICTORIA 13 0261wagga, flour, oats, bag, calico, lila, gore, depression, war, kitchen

Murray Comrie Collection. Information collated by Murray Comrie: This photograph shows the Treloar Foundry with its chimney, employees and the Treloar home in Commercial Road Tarnagulla H.W. (Henry) Treloar was a native of Redruth in Cornwall, where he was born in 1811. He worked as a blacksmith in his father's Cornwall foundry and then in 1840 went to work in Cuba as a foreman smith to the Royal Santiago Copper Mining Co. Returning to England in 1851 he remained for two years just as the reports of rich Victorian goldfields began to be heard there. He brought his family to Australia in September 1853, arriving in Geelong and then working in Heidelberg for eighteen months. He returned to Geelong to set up a business but after three months was drawn to the Maryborough goldfields, then Dunolly and then Sandy Creek (as Tarnagulla was then known), arriving in March 1855. He remained in Tarnagulla until his death. He established the Foundry in Tarnagulla in 1855 and was known as the best 'mining' smith in the district. After the decline of mining he turned to production of agricultural implements and the firm built a reputation in the field, through devices such as the 'NONPARIEL' tree and stump extractor, double furrow ploughs, seed harrows and scarifiers. On 26th October 1878 the firm won three first prizes for their implements at the North Western Agricultural Show at Ingelwood. The business of Treloar & Son was taken over by the James Bros in November 1894. This photograph is a reasonable copy created from an older original, owned by Miss Doris Nicholls. Copy probably made by Murray Comrie in the 1970s. Monochrome photograph of five men and a young girl standing in front of a house with white verandah posts and two brick chimneys. In the background a much taller brick chimney is visible.tarnagulla, commerce, industry, blacksmithing, smithing, foundry, businesses, treloar, james, buildings, commercial road, main street

Ciborium is the ancient Greek word for the cup-shaped seed vessel of the Egyptian water lily "nelumbium speciosum" and came to describe a drinking cup made from that seed casing. These vessels were particularly common in ancient Egypt and the Greek East. The word "'ciborium'" was also used in classical Latin to describe such cups. In medieval Latin, and in English, "Ciborium" more commonly refers to a covered container used in Roman Catholic, Anglican, Lutheran and related churches to store the consecrated hosts of the sacrament of Holy Communion. It resembles the shape of a chalice but its bowl is more round than conical and takes its name from its cover, surmounted by a cross or other sacred design. This ciborium is part of a Communion Set that was recovered from the wreck of the Schomberg in 1975 after 120 years in the sea. Five years later during the cleaning of the ciborium, a diamond ring was found secreted in the underside of the ciborium's lid. This ring has since come to be called the Schomberg Diamond and is also on display as part of the Flagstaff Hill Museums Schomberg collection. In 1975, divers from Flagstaff Hill (Peter Ronald, former Director of Flagstaff Hill, Colin Goodall and Gary Hayden), found an ornate communion set at the Schomberg wreck site. The set comprised a jug, the ciborium, a chalice and a plate. The ciborium remained untouched for a number of years before restoration began and the marine growth was removed. In 1980 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 at Flagstaff Hill. The collection also holds ship fittings and equipment, personal effects, a lithograph, tickets as well as photographs from the Schomberg. ABOUT THE SCHOMBERG (October 6 to December 27, 1855)- When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Baine’s Black Ball Line had commissioned her for their fleet of passenger liners. The Aberdeen builders designed her to sail faster than the clippers designed the three-masted wooden clipper ship to be fast. The timber used for the diagonal planking was British oak with layers of Scottish larch. This luxury emigrant vessel was designed for 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. The master for Schomberg’s maiden voyage was Captain ‘Bully’ Forbes. He drunkenly predicted at her launch 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 of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The poor winds slowed Schomberg’s sail across the equator. 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 currents were not marked on Forbes’s map. The ship’s Chief Officer spotted the coastal steamer SS Queen at dawn and sent a signal. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers safely disembarked.This ciborium is significant as an example of an item in common use in the mid-19th century that is still in use today. It is also important for it relationship with the famous Schomberg Diamond that was discovered by accident, hidden inside it. The ciborium is particularly significant in that along with other items from the wreck helped in part to have the legislation changed to protect shipwrecks, with far tighter controls being employed to oversee the salvaging of wreck sites around our coast. This salvaged item forms part of the Schomberg collection at Flagstaff Hill maritime museum. The collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered Schomberg shipwreck (VHR S 612). The collection is of additional significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes from society at the time of the wreck.Silver engraved Ciborium or chalice with lid, part of the five-piece Communion Set. The chalice is a round cup with a long stem and a floral-shaped base with embossed decoration. It has a matching round lid that comes to a rounded apex on top. Engravings on chalice feature flowers and a Fleur-de-lis pattern.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, schomberg, 1855, clipper ship, james baines & co, black ball line, luxury ship, emigrant ship, captain forbes, bully forbes, ss queen, peterborough shipwreck, communion set, religious service, communion service, ceremonial service, mass, ciborium, chalice, schomberg diamond

This specimen is part of a collection of almost 200 animal specimens that were originally acquired as skins from various institutions across Australia, including the Australian Museum in Sydney and the National Museum of Victoria (known as Museums Victoria since 1983), as well as individuals such as amateur anthropologist Reynell Eveleigh Johns between 1860-1880. These skins were then mounted by members of the Burke Museum Committee and put-on display in the formal space of the Museum’s original exhibition hall where they continue to be on display. This display of taxidermy mounts initially served to instruct visitors to the Burke Museum of the natural world around them, today it serves as an insight into the collecting habits of the 19th century. Like many species of quail, the Brown Quail is often difficult to see, as it inhabits rank, overgrown grassy areas, often in damp, low-lying patches beside wetlands. They are difficult to flush from this cover, preferring to squat among the grass or run quickly off through the vegetation rather than fly off. As is the case with many species that inhabit dense habitats, the Brown Quail may be heard more often than it is seen, with its characteristically mournful two-note call whistle often heard at dawn and dusk. The Brown Quail is found across northern and eastern Australia, from the Kimberley region in Western Australia to Victoria and Tasmania, as well as in south-western Australia. It is also found in Papua New Guinea and Indonesia, and has been introduced to New Zealand. The Brown Quail feeds in the early morning or evening, on the ground, mainly on seeds and green shoots, but also on insects. In some area, quails will readily cross roads and may be seen feeding along roadsides.This specimen is part of a significant and rare taxidermy mount collection in the Burke Museum. This collection is scientifically and culturally important for reminding us of how science continues to shape our understanding of the modern world. They demonstrate a capacity to hold evidence of how Australia’s fauna history existed in the past and are potentially important for future environmental research. This collection continues to be on display in the Museum and has become a key part to interpreting the collecting habits of the 19th century. The Brown Quail is a small, plump ground-dwelling bird. It is variable in colour, ranging from red brown to grey brown with fine white streaks and black barring above, and chestnut brown below. The eye is red to yellow, the bill black and the legs and feet orange-yellow. In Tasmania, this species is called the Swamp Quail and tends to be larger and darker than mainland birds, with a pale yellow eye. Female Brown Quails are larger and may be more heavily marked with black and paler below than males. Young birds are like adult females, with less distinct markings and a dark brown eye.Label: 33. / Swamp Quail / See Catalogue, page 30 / Mount: 09/taxidermy, quail, brown quail, taxidermy bird, burke museum taxidermy

This item was inherited from the donor's father, René Dupuche. John Dupuche, writes: This magnifying glass was used to remove the burrs and thorns that wool-buyers tended to get in their fingers when examining bales of wool. The open end was placed on the finger since the thorn was sometimes buried under the skin. The buyer looked through the magnifying glass and with tweezers or a pin removed the thorn which had rendered the finger inoperative. The wool-buyers needed the sensitivity of their fingers to appraise the suitability of the wool, as buyers had for centuries past, measuring the length of the staple, feeling and counting the crimps in the fibre, its finesse, softness, elasticity and strength, assessing the colour, watching for extraneous matter such as dust or seeds which would not be welcome by manufacturers half-way across the world. Their skills took years to acquire. Knowledgeable buyers were invaluable to their employers, since they were able to evaluate to the last percentage the yield of a bale. My father, René Dupuche, was the ‘principal buyer’ from 1927-1966 in Victoria, South Australia and Tasmania for the international wool company ‘Masurel Fils’ which was one of the largest wool businesses in Europe. It was based in the north of France, in Tourcoing, one of the major wool centres of the world. He was sent to Australia as a young man at the age of 23 and took part in the ‘golden era’ of wool in Australia, and the eventual replacement of hands-on appraisal by ‘core-testing’. Masurel Fils was one of the dozens of French and Belgian firms operating in Australia. These men from Flanders enjoyed a cosmopolitan society augmented by diplomats, European bankers and shipping-line executives for various countries and a handful of scientists and academics.Small black metal magnifying lens with three fold design and two hinges. One panel contains a circular glass lens, the centre panel has a circular hole, and the third panel has a square hole with three lines on each side.wool buyer, magnifying glass, magnifying lens, burrs, rené dupuche, john dupuche, migrants, masurel fils, french, belgian, flanders, working life, sheep industry, wool industry, agriculture

Murray Comrie Collection. This photograph shows the Treloar Foundry employees (possibly Henry Treloar with hand resting on the stump extractor) conducting a demonstration of their tree and stump extracting device on a farm in Inglewood while a large crowd watches. Information collated by Murray Comrie: H.W. (Henry) Treloar was a native of Redruth in Cornwall, where he was born in 1811. He worked as a blacksmith in his father's Cornwall foundry and then in 1840 went to work in Cuba as a foreman smith to the Royal Santiago Copper Mining Co. Returning to England in 1851 he remained for two years just as the reports of rich Victorian goldfields began to be heard there. He brought his family to Australia in September 1853, arriving in Geelong and then working in Heidelberg for eighteen months. He returned to Geelong to set up a business but after three months was drawn to the Maryborough goldfields, then Dunolly and then Sandy Creek (as Tarnagulla was then known), arriving in March 1855. He remained in Tarnagulla until his death. He established the Foundry in Tarnagulla in 1855 and was known as the best 'mining' smith in the district. After the decline of mining he turned to production of agricultural implements and the firm built a reputation in the field, through devices such as the 'NONPARIEL' tree and stump extractor, double furrow ploughs, seed harrows and scarifiers. On 26th October 1878 the firm won three first prizes for their implements at the North Western Agricultural Show at Inglewood. The business of Treloar & Son was taken over by the James Bros in November 1894. This photograph is a reasonable copy created from an older original, owned by Miss Doris Nicholls. Copy probably made by Murray Comrie in the 1970s. Monochrome photograph of a large crowd of people watching a stump-removal demonstration in a bush setting.tarnagulla, commerce, industry, blacksmithing, smithing, foundry, businesses, treloar, james, buildings, commercial road, main street

This standard design life jacket was made by sailmakers Harry West Pty Ltd at Balmain, Sydney, New South Wales from 1930s to 1950s. Harry West - Harry was a chandler, sailmaker and rigger. He made and sold all kinds of canvas and rope goods including sails, awnings and covers. In 1925 he was advertising life buoys but by 1933 he was advertising life jackets. He and his wife Margery had six children. His business was still operating in 1954, when an article on the craft of sailmaking appeared in the Sydney Morning Herald. His sailmaker's loft was located, traditionally, close to Sydney's harbour. Life Jackets - Life jackets were part of the equipment carried by the Life Saving Rescue Crew of South Western Victoria, including Warrnambool, from around 1858 until the 1950s. The purpose of a life jacket is to keep the wearer afloat until he or she is rescued from the water. Life jackets were first invented in 1854 by Captain Ward of the Royal National Lifeboat Institution in Britain. The early life jackets were filled with cork, which is very buoyant. However, many times he cork caused the jacket to rise up quickly with a force that caused unconsciousness, sometimes turning the person face down in the water , causing them to drown. After the tragic loss of the ship RMS Titanic in 1912 and the lost lives of those onboard, a woman named Orpheus Newman designed the Salvus life jacket (Salvus means safe), which was filled with kapok instead of cork. Kapok comes from seed pods of the Ceiba Pentandra tree and is waterproof as well as buoyant. These Salvus jackets were used by the Royal Navy until new synthetic materials became available around the time of World War II.This life jacket is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Life jacket, canvas covered, with two kapok padded compartments joined by shoulder straps and waist ties. Designed to slip over the head and tie at the waist. Inscriptions on pouches, some stencilled, some hand written, and inspection text on shoulder strap. Made by Harry West Pty Ltd., Sailmakers, Balmain, Sydney.Stencilled on pockets: “- - - NDARD / LIFE JACKET” [STANDARD LIFE JACKET], “HARRY WEST PTY LTD / SAILMAKERS / BALMAIN, SYDNEY” Stamped on shoulder strap: "XM3271RC" Hand painted on pocket: “DAVIES”flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, lady bay, warrnambool harbour, captain ward, royal national lifeboat instution, kapok, life jacket, orpheus newman, salvus jacket, life saving, rescue, rescue crew, l.s.r.c., life saving equipment, marine technology, lifeboat, shipwreck victim, vintage, harry west, balmain, sydney, davies, standard life jacket, survivor, shipwreck, sailmakers, harry west pty ltd

Yields information about Ballarat's and district government and local services and business's through advertising, timetables, providing addresses.Thirty two page + covers, Guide Book titled "McConnell's District Guide - Ballarat" for 1924. Covers - orange with title and advertising and calendar for 1924 and 1925 on inside of rear cover. Inside pages, missing pages 23 to 26 (see note below) printed on semi gloss paper with district information and Advertisements. Pages 7 to 11 loose - due to removal of other pages. Centre stapled. Page 1 has a table of contents, giving municipal and district information including banks, clubs, Councillors, Hospitals, JP's Industries, Medical, Newspapers, Parks, Places of interest, schools, train and bus timetables and trams (see note below). Item was contained within the back cover of Reg Item 5486 - Service Exercise Book, black covers, with label, red binding titled "No. 2 - Ballarat Tramways & S.E.C. Systems" - see list. Timetables cut out and pasted into a folio within Reg Item 5507 - see Reg Item 5513 for pages of the timetable pasted into the document. Has many advertisements for local and Melbourne companies. Major ones are: Wertheim pianos - Melbourne Tyer's Drapery Morshead Stores Jeffree Muir - Seeds Victor H Wastell - Optometry B. Farrer - chemist Val Purdue - Saddler McGibbony Bros - jeweller Sunshine Garage Osbrow & Co - boots J. Ewins - books W. A Stark - Grocer Tunbridges - furniture Walters Bros - Estate Agents The Ballarat Trustees Executors and Agency Co. A. E. White - tailor Excelsior Motor Bus Co. Creer the Cashman - blankets Faull's - shoes Andrew Cant - ironmonger W. F. Coltman - timber Stevens - furs Her Majesty's Theatre Hutton's - Jeweller On cover, "W. Jack 1924" and "1924" in ink.trams, tramways, ballarat, commerce, advertisements, timetables