This tie pin has as its centerpiece a souvenir medal from the Warrnambool Industrial and Art Exhibition of 1896-7. This exhibition was held in the Town Hall and Council Buildings and the Mechanics’ Institute and temporary buildings at the corner of Liebig and Timor Streets, Warrnambool. It was held over three months and attracted many visitors and featured concerts, sports events, industrial exhibits and a variety of competitions. This is an interesting and important item. It is one of the more unusual mementoes from the Warrnambool Industrial and Art Exhibition and shows the use made of souvenirs from exhibitions around the world. This tiepin was purchased in an antique shop in England in the 20th century. This is a metal tie pin with three circular coins, soldered together at the edges. In the middle is a souvenir medal of the Warrnambool Industrial and Art Exhibition of 1896-7 showing an image of the Exhibition buildings at the corner of Timor and Liebig Streets on one side and a Coat of Arms on the other side. The two smaller coins on each side are imitation British half crowns. The clip at the back is soldered on to the two smaller coins Medal: Industrial Exhibition, Warrnambool 1896 Coins: 1889-90 warrnambool industrial and art exhibition 1896-7, warrnambool, tie pin

These items are a collection of paints etc for those artists wanting to produce lustroleum and crystoleum works of art in the late 19th century and early 20th century. These works of art using lustroleum and crystoleum which were mainly metallic paints, were produced on a variety of surfaces, including glass, wood, tapestry, china and ivory. These items have no known provenance but it is known that lustroleum and crystoleum painting were popular pastimes with women in Warrnambool in the late 19th century. There are several records of women advertising classes in lustroleum and crystoleum painting in the 1880s and 90s in Warrnambool. One was these was Annie Newcombe, an art teacher who offered classes at her studio in Timor Street in 1884.This is a metal tin with a metal catch and a hinged lid. The tin contains 10 items - four glass bottles of Lustroleum, one glass bottle of gold paint, one glass bottle of purple metallic paint, one tube of green paint, one china bowl with a lip for pouring, one dish to hold paint with a broken base and one small dish for holding paint. There is also a sheet of paper containing information on the Crystoleum Company of London advertising that they supplied photographs, price list for classes, silk frames and crystal glasses. On bottles: ‘Lustroleum Registered’ ; ‘H. Bessemer, Gold Paint’, ‘Purple’, On tube: ‘Winsor & Newton, Chrome Green, Vert Anglais, London England’ crystoleum and lustroleum painting, warrnambool, paint set, artist's paints

This wooden tray has been purchased from the Warrnambool Fancy Goods shop of M. Giblett. She had taken over this shop early in the 20th century from Mrs Martha Wright who was well-known in the late 19th and early 20th centuries for her shop in Liebig Street (95 Liebig Street today) and for her needlework classes in the town. Many of her pupils won prizes at the local Agricultural Shows. This tray is of some interest as an object bought at the Wright/Giblett Fancy Goods Store in Warrnambool early in the 20th century. This is a rectangular-shaped wooden tray with four raised pieces of wood attached to form edges. The tray has been painted yellow. There is a label on the base of the tray indicating the shop from where it was purchased. The tray has some chipped paint, some dirt marks and some small cracks in the wood. ‘Millinery, Art Needlework, Baby Wear and Wool Specialists, Wrights (M.I.Giblett) Warrnambool’ martha wright, warrnambool, m. giblett, warrnambool, history of warrnambool, art needlework in warrnambool

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

This is a book produced by Rex and Bernice Battarbee and contains reproductions of aboriginal art work, including the work of several of Albert Namatjira’s children. Reginald (Rex) Battarbee (1893-1973) was the son of George and Mary Battarbee who lived in East Warrnambool at a property called ‘Skiddaw’. Rex’s sister, Florinda was a local artist who was his first teacher of art. Rex became a well-known artist, depicting mainly the Central Australian landscape. He is credited with discovering and fostering the artistic talent of Albert Namatjira, the best-known of the early Australian aboriginal artists. This is one of the few mementoes we have of the artist Rex Battarbee who was born in Warrnambool and spent his early years in this city. This is a hard cover book with the pages unnumbered. The cover is brown with colour reproductions of two aboriginal paintings on the front and back cover. The printing on the front cover is in yellow and white lettering. The book contains written text and many reproductions of aboriginal paintings. The inscription on the first page is handwritten in black biro. ‘L. Durrant, From Russ, May 1979’. rex battarbee, aboriginal art, albert namatjira

This model of St. John’s Presbyterian Church in Warrnambool was made by Johan Carl August Landmann (1826-1920). August Landmann and his wife, Christina came from Silesia to Australia in 1854. They settled in Warrnambool where August made a living as a carpenter and joiner. At first he rented shops in Timor Street and then built a two-storeyed shop and residence in Henna Street. Landmann built many of the early commercial buildings and residences in Warrnambool and he and his family were associated with the management of the Warrnambool Western Brewery. When he retired in 1900 he built another residence in Mickle Street and it was at that time that it is believed he made the model of the Presbyterian Church and the model of the Ozone Hotel (which is in the Warrnambool Art Gallery today). St. John’s Presbyterian Church, designed by Andrew Kerr, was built in the English Gothic style and opened in 1875. It was destroyed by fire in 1920 but was rebuilt to a similar style. This model is of great significance for two reasons: 1. It was made by a prominent early Warrnambool carpenter and joiner, Johan Carl August Landmann. 2. It is the only known model of the Warrnambool St. John’s Presbyterian Church which was destroyed by fire in 1920.This model is on a wooden stand or base which is painted black with metal screws. The edging of the stand contains straw which is now brown but was originally green to resemble grass or lawn. The church is a wooden structure (hollow inside) with some sections painted to resemble sandstone. The roof is slanted and painted grey and has six dormer windows or ventilation pieces on each side. The main body of the church has a nave with dual arched windows, the west end has dual arched windows and a door with louvre ventilation and the east end has a door and dual arched windows and two conical-shaped finials. The windows, some of which are triangular, have frosted decorated glass. Some of the glass in the windows is missing. The main tower is square-shaped with four conical-shaped finials. The upper part has four sets of louvres and two arched windows. The centre and lower sections have rosette patterns and several sets of dual arched windows with frosted decorated glass panels. The north east corner has a smaller tower.johan carl august landmann, st. john’s presbyterian church, warrnambool, warrnambool history

This booklet is a catalogue of most of the works of art that were displayed in an exhibition in the Warrnambool Art Gallery in 1994. It was described as ‘a celebration of artists committed to living and working in country Victoria’. It was intended to be the first of similar exhibitions and was initiated by the Warrnambool-based Cultural Association of the South Coast and Western Plains. The Warrnambool Art Gallery was officially opened in 1886 though the local Mechanics’ Institute and Museum had been collecting works of art before this date. When the Mechanics’ Institute building was taken over for Council use in 1963 the Art Gallery ceased to exist and the works put in storage. The Gallery re-opened in temporary premises in 1971 and the present Warrnambool Art Gallery, a memorial to Fletcher Jones, was opened in 1986 in Liebig Street. This is an interesting catalogue as it is one of the few examples we have of the work of the Cultural Association of the South Coast and Western Plains. This Warrnambool-based group operated for a short time only in the 1990s.This is a soft cover booklet of 40 pages. It is bound with metal staples. It has a white cover with black printing and reproductions of black and white works of art on the front and back covers. The booklet contains reproductions of the works of art (in black and white) by 34 south west Victoria artistswarrnambool art gallery, history of warrnambool

This container is a piece of trench art. It has been made in 1917 in World War One. The container is made from a 4.5 inches Howitzer shell. The 4.5 Howitzers were British artillery units made with a short barrel and used to fire missiles over a high trajectory. It is probable that the container was made by an Australian soldier while on active service overseas during World War One. This container has no known local provenance but it is a very interesting and attractive piece of World War One trench art. This is a heavy brass container made from a Howitzer shell. The container is round with four-leaf clover –type patterns on the side and three round knobs welded on to the bottom to give it a base. There are many markings on the base of the shell and these may all be the original markings. The lid is made of lighter brass and has an octagonal-shaped knob on top. ‘4.5 Howr 11’ ‘B.A. 3 3 17’ ‘1917’ M.A.C.’ etc world war one, warrnambool

This invitation to attend the City Reception to the The Honorable Alex Chernov AC. QC , the Governor of Victoria and Mrs. Elizabeth Chernov, was given to Glenys Phillpot , the former Warrnambool City Councillor and four times Mayor of Warrnambool. The reception in 2013 was held at the Warrnambool Art Gallery.This item is retained as an example of an invitation from the Warrnambool City Council to attend a Civic Reception to a visiting notable person. A sheet of white paper with black and green printing, the Warrnambool City Council logo and four colour photographs.warrnambool city council, the honorable alex chernov, governor of victoria

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

These books celebrate the 130th anniversary of the establishment of the Warrnambool Art Gallery. This Gallery is owned and operated by the Warrnambool City Council as a memorial to Sir David Fletcher Jones who was nationally known and a leading citizen in Warrnambool for many years as a businessman (Fletcher Jones and Staff) and as a philanthropist. The Warrnambool Art Gallery was founded in 1886 and is the third oldest institutional collection in Victoria and the fifth oldest in Australia. This book is of considerable interest as it reproduces many works of art from the Warrnambool Art Gallery, a highly significant collecting institute in Warrnambool. These are two copies of the book containing 130 reproductions of works of art (both in colour and in black and white) held at the Warrnambool Art Gallery. It is a soft cover book of 128 pages edited by Vanessa Gerrans. The cover designed by Ian Robertson has a white background and the shapes of the Warrnambool Art Gallery logo have been used as multi-coloured windows containing details of each of the 130 reproduced works. The title of the book is in black print. As well as the reproduced works of art the book contains A Message from the Mayor, notes on the Friends of the Warrnambool Art Gallery and the Warrnambool Art Gallery Foundation and an article on the history of the Art Gallery. warrnambool art gallery, warrnambool city council, david fletcher jones, history of warrnambool

This is a book containing printed text and black and white photographs. There are several loose pages at the back. The book has lost its cover and has been inserted into a folder not relevant to the contents.non-fictionA book with a collection of world wide photographs owned by a member of the Swinton family world travel, swinton family of warrnambool

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

Although the organization name is not in the book, this ledger appears to have been used as a financial record for the Warrnambool Mechanics' Institute from 1904 to 1911. Most of the entries are the names of those subscribing to the Mechanics' Institute Library, the finances connected to the School of Art and Design and moneys received in connection with the Mechanics' Institute billiards room. The Warrnambool Mechanics' Institute was one of the earliest established in Victoria, being founded in 1854. The School of Art and Design, the second of its kind in Warrnambool, was established in 1883 and continued to be administered by the Mechanics' Institute until 1908. It eventually became part of the Warrnambool Technical School, opened in 1913. A local Museum was a feature of the Warrnambool Mechanics' Institute for many years. A billiards room was a recreational feature of many Mechanics' Institutes. The Warrnambool Mechanics' Institute closed in the 1960s with the library section continuing and the building was demolished in 1975 to make way for new Warrnambool Council buildings (including a new library)This ledger is of considerable interest as it is an early record of the Warrnambool Mechanics' Institute, one of Warrnambool's most influential organizations. The names listed in this ledger are of historical interest and provide much material for local history researchers.This is a ledger with a black cover with gold printing on the front. The pages have ruled red and blue lines and handwritten entries in black ink and blue crayon. The spine of the cover is somewhat tattered on the edges.warrnambool mechanics' institute, warrnambool school of art and design, ethel mitchell warrnambool school of art and design

This medallion was awarded by the Commissioners of the Warrnambool Industrial & Art Exhibition to ten boys from the Kew Asylum who sent handmade items (basketware, matwork etc ) for display at the Education Court of the Exhibition. The Warrnambool Industrial & Art Exhibition, held in Warrnambool from December 1896 to March 1897, partly to commemorate Queen Victoria's Diamond Jubilee, was a signal event in Warrnambool's history, with one report suggesting that over 70,000 people attended the various activities held over these months. These included concerts, operas, displays, business stands, sporting events and competitions. The earliest surviving voice recordings made in Australia were produced in Warrnambool at this Exhibition and there were various other 'firsts'. The medallion awarded to the boys at the Asylum for the high quality of their work, was made by the Melboune firm of Stokes and Sons who had a stall and machinery at the Exhibition and made small souvenir Exhibition coins on the spot for visitors to buy. As well as the gold medallion the boys were also given by the Commissioners some small souvenirs to the total value of 12 shillings. This medallion is of great historical value as it is a precious and rare memento of the 1896-7 Warrnambool Industrial & Art Exhibition, an important event in Warrnambool's history..1 A round gilt-bronze medallion with a bust image of Queen Victoria and lettering on one side and a laurel wreath and lettering on the other side .2 A square black box with a metal hinge and clasp. The inside is lined with dark blue satin and silk and has a sunken area to hold a medallion. The maker's name is printed in gold lettering on the inside top of the lid.Warrnambool Industrial & Art Exhibition 1896-7 Diamond Jubilee Awarded to Idiot Asylum Kew For excellence of Workmanship Basket & Matwork & Photos of Asylum Stokes & Sons Medallists Melbournewarrnambool industrial & art exhibition, kew asylum medallion, medallion, 19th c exhibition warrnambool, warrnambool, warrnambool history

This framed copy of a sketch of John Ruskin comes from the original steel plate engraving dating from about 1845. John Ruskin (1819-1900) was a notable English writer, philosopher, art critic and polymath in the Victorian era. He was the first Professor of Fine Art at Oxford University and was a prolific writer interested in the connection between nature, art and society, anticipating the more modern interest in environmental and sustainability issues. This framed item is from the collection of the old Warrnambool Museum which was first established in 1871 by the Warrnambool Mechanics' Institute under the curatorship of a local policeman, Joseph Archibald. This first museum faded away but was revived in 1883 by Joseph Archibald in his retirement years. The Museum continued as part of the Mechanics' Institute until 1963 as an important and much-admired institution. Most of the collection was lost over the years but some items remain, housed at the Warrnambool Art Gallery, Flagstaff Hill Maritime Museum and the Warrnambool and District Historical Society, with the John Ruskin item being part of the latter group's collection.This item is of considerable interest, firstly because it comes from the collection of the old Warrnambool Museum and secondly because it shows the local interest in the 19th century of the notable English writer and philosopher, John Ruskin. This is a copy of a steel plate engraving, a black and white sketch of the head and upper body of John Ruskin. It is enclosed in a cut glass frame with a red cardboard backing attached by metal clips. A section of the backing is torn off and there is damage to the bottom part of the glass frame.J. Ruskinold warrnambool museum, warrnambool art gallery, flagstaff hill maritime museum, warrnambool & district historical society, joseph archibald, john ruskin portrait

This badge appears to have been made in World War Two and may be an example of trench art made by a soldier serving overseas. The piece labelled ‘Australia’ may have come from another badge belonging to that soldier. This badge has no known local connection but is of interest as a memento of World War Two. Semi circular stylised badge with background forming the letters AIF. Australia is on a slightly rounded bar in the front of the letters. Hole in upper left corner.AIF as background. Australia printed on banner at the front.warrnambool, aif warrnambool, aif badge

These are souvenir medals of the Warrnambool Industrial and Art Exhibition of 1896-7. This exhibition organised by a local committee under the chairmanship of the Mayor, Walter Hickford was one of the most important events in Warrnambool's history. It ran for three months and was said to have attracted 70000 visitors. It was held in Liebig Street and utilised both the civic centre buildings and temporary buildings erected for the event. It had several exhibition courts featuring art worksand business exhibition stands, competitions,entertainments and visiting experts in various fields. These medals were made at the exhibition at the stand of Stokes and Son. Visitors to the exhibition were able to get a gold silver or bronze medal made while they watched and the medal was then perforated ready to put on a watch chain or pendant. Thomas Stokes came to Australia in the 1850's and established a successful business in Melbourne manufacturing buttons, medals and tokens. The business was called Stokes and Son following a fire in 1893.These medals are of great significance as a memento of an important event in Warrnambool -The Warrnambool Industrial and Art Exhibition of 1896-7. Medals such as these would have been in the homes of many residents of Warrnambool and district and beyond after 1896..1 This silver circular medal has text around the outer rim and an image of Queen Victoria on the reverse. On the obverse is text and an image of the Warrnambool Exhibition building erected for the occasion. The medal is secured by a red thread , button and clear tape to a piece of card. On the card is a hand drawn sketch the Warrnambool Exhibition building and a hand drawn sketch of a profile of Queen Victoria . .2This silver circular medal has text around the rim and an image Warrnambool Exhibition building on the reverse and on the obverse a stylised coat of arms topped by the rising sun . Inside the field is a sailing ship, a pick and shovel , a sheep and sheaf of wheat .1 on the Reverse : around the rim, Struck at the Exhibition mint. On the obverse : Industrial exhibition 1896 Warrnambool. .2 On the obverse : Industrial exhibition 1896 Warrnambool.warrnambool, great exhibition of warrnambool, 1896 exhibition warrnambool, warrnambool exhibition medal

This bottle comes from the chemist’s business in Timor Street Warrnambool of R.F.Kennedy & Co. Richard Frank Kennedy came to Warrnambool in 1880 and established a retail, wholesale and manufacturing business in Timor Street. The business was described in the 1904 ‘Cyclopedia of Victoria’ as the largest and best-appointed pharmacy in Victoria. Kennedy was prominent in community affairs in Warrnambool, being a Town Councillor, a Justice of the Peace, and on the committees of the Warrnambool Hospital and the Mechanics Institute and Art Gallery. He was the first Vice-President and fourth President of the Warrnambool Bowls Club. After Kennedy’s death in 1903 the pharmacy business continued as a company and this bottle comes from that time. The Kennedy chemist bottles were well-known for their lighthouse logo (Warrnambool having two operating lighthouses during the company’s time, with these still operating today).This bottle is significant as an example of a chemist’s bottle from R.F. Kennedy & Co. This pharmacy was a dominant business in Timor Street, Warrnambool for over 40 years. This is a small clear glass bottle with a rectangular-shaped body with rounded sides, a small neck and a moulded open top. The stopper is missing. The chemist’s name and a lighthouse logo are etched into the side of the bottle. ‘R.F. Kennedy & Co Chemists Warrnambool’ ‘M297 AGM’ r.f. kennedy, warrnambool chemist, history of warrnambool

This card was presented to Bruce Morris on his retirement as editor of the Warrnambool Standard newspaper in 1968. The signatures on the card are those people who worked closely with him (the editorial staff?) on the newspaper. Bruce Morris (1903-1986) was the grandson of George Lance, well-known in Warrnambool in the 19th century as an artist, writer and musician who was deeply involved in the establishment of the Warrnambool Art Gallery. Bruce Morris was the staff training superintendent at Myer in Melbourne during the 30s and 40s. In 1946 he became the editor of the Warrnambool Standard and remained there until 1968. For 22 years he observed and recorded the events that affected the lives of the local people. He was noted for his historical articles (mostly with the initials BBM) and continued to write these articles for the Standard until the year he died. This card is of interest as a memento of Bruce Morris, one of Warrnambool’s important historians. This is a buff-colured card folded over to make a leaflet with a sheet of white paper folded over in the middle of the leaflet. The front cover has gold ornamentation and gold printing. There are a printing of a verse and eleven signatures in blue on the inside paper. ‘Ron Oakley, E. Fitzhenry, Eileen T, Horne, Don Burnett, Mac Jeffers, Peter Robertson, Terry Daffy, David Ferguson, Bruce Johnson, Ron Armstrong, Jim Ewing.’brue morris, warrnambool, warrnambool standard editors, history of warrnambool

The 120 cards in these two albums are very varied in content. There are many of birds and animals, some of great artwork reproductions, some of famous places and buildings, a couple of V.F.L. footballers, two from the Melbourne Olympic Games, some matching pairs and a couple of Australian aboriginal art work. They are all of high quality and many are very beautiful. Swap card collecting was a popular activity for young girls throughout the 20th century and cards were swapped with friends and sometimes sold. Usually the cards, bought from newsagents and fancy goods shops, were kept loose in a school bag or pocket and so the number of cards and the type varied from week to week. Boys also often saved cards of a particular nature – sports cards, nature cards etc though the idea of ‘swapping’ was not so prevalent among the boys. Card collecting, usually promoted by a business concern or a toy company, is still a pastime for young people today. The cards in these two albums are of considerable interest as they are of good quality and are aesthetically pleasing. They also are good examples of a popular hobby of girls in the 20th century. .1 & .2 These two albums are similar in size and design. Both have grey/pale green covers with red printing on the front cover. Both are bound with two staples and both contain 10 pages with inserts to hold three cards each side of the page. The inserts are edged with a green decoration. Both albums contain 60 coloured cards. There is evidence of silverfish damage on the front covers of both albums. hobbies of the past, history of warrnambool

All but two of these letters came from the office of the Chief Secretary of the Government of Victoria and concern the grants allocated to the Warrnambool Art Gallery from 1886 to 1911. At that time the Art Gallery was under the control of the Warrnambool Mechanics Institute Committee and managed by the Secretary/Treasurer of that group. The Government funding for the Art Gallery at the time represented a sum of money equal to the value of the works of art donated locally to the Art Gallery in any given year and frequently the estimated value of these art works were queried by the Warrnambool Secretary of the time. Two notable Secretaries of the Mechanics Institutes during this time were Walter Cockman (1880-1892) and George Lance (1892-1901). The correspondence under review here was retained by George Lance and his family and came into the possession of Lance’s grandson, Bruce Morris who was the editor of the Warrnambool Standard newspaper from 1946 to 1968 and was a well-known local historian. These letters are of considerable importance as they are original and document the struggle of the Warrnambool Art Gallery over the years 1886 to 1911 to secure funding from the Victorian Government.These are 19 pieces of correspondence relating to Warrnmbool Art Gallery grants and purchases from 1886 to 1911. The letters are written on different size pieces of paper (mostly foolscap size), with thirteen of them being handwritten and six being typed. All letters have original signatures. The earliest letter (1886) is very tattered. warrnambool art gallery, history of warrnambool

One of these items is an 1894 letter written by the artist Tudor St George Tucker regarding one of his artworks in the Warrnambool Art Gallery collection. The other eight letters were written between 1889 and 1897 and document the controversy of the time when the authenticity of the art work by Louis Buvelot, The Waterhole at Coleraine, in the Warrnambool Art Gallery collection, was questioned. The Warrnambool photographer Daniel Clarke was querying the authenticity of the art work in the Art Gallery but evidence in the form of letters from George Folingsby of the National Gallery in Melbourne and from Louis Buvelot’s widow, Caroline-Julie, confirmed that there was confusion over the number of art works that Buvelot had executed with a similar theme. It was eventually proven that the Buvelot art work was genuine. The public spat was largely played out in the Warrnambool Standard but these original letters fill in the gaps of our knowledge on the subject. The letters came into the possession of George Lance who was involved with the Warrnambool Mechanics Institute /Art Gallery in the 1880s and 1890s and was the secretary of these institutions from 1892 to 1901. The letters were then handed on George Lance’s grandson, Bruce Morris, a well-known Warrnambool historian who was the editor of the Warrnambool Standard from 1946 to 1968. These letters are of great significance as eight of them are the original letters written in connection with the 19th century controversy in Warrnambool over the authenticity of a Louis Buvelot art work owned by the Warrnambool Art gallery. .1 A sheet of paper folded in two containing three pages of writing handwritten in black ink and pasted on paper. .2 A sheet of paper folded in two containing one page of writing handwritten in black ink and pasted on a sheet of paper. .3 A sheet of paper with handwriting in black ink pasted on a piece of paper. .4 One sheet of paper folded in two to make four pages of writing, handwritten in black ink. .5 .6 .7 A sheet of paper with handwritten material in black ink pasted onto another sheet of paper .8 A sheet of paper folded in two with three pages of handwritten material pasted onto another sheet of paper. .9 A sheet of paper folded in two with one page of handwritten material pasted onto another sheet of paper. tudor st. george tucker, artist, louis buvelot, artist, george lance, warrnambool, daniel clarke, warrnambool, george folinsby, melbourne, history of warrnambool

This inventory of the contents of the old Museum in Warrnambool dates from the 1920s. A Mechanics Institute under the management of a local committee was established in Warrnambool in 1854 and a Mechanics Institute building was erected in Liebig Street in 1871 (site of present Municipal Library). Museum items and art works began to be collected and housed in the Mechanics Institute building at that time under the care of a committee member and local policeman, Joseph Archibald. This collection did not survive in any significant form after Archibald left the town but it was revived and vastly expanded when he retired and returned to Warrnambool in 1880. Archibald is regarded as the founder of the Museum which officially dates from 1883. In 1910 the Warrnambool Town Council took over the management of the Mechanics Institute, including the Museum collection. This museum continued until 1963 and was a much-loved institution in the city. The contents of the old Museum were dispersed, with many items lost but a considerable portion of the collection was under the care of Warrnambool Art Gallery and John Welsh, the Director in the 1970s, in an effort to keep the records of the old Museum intact, had the 1920s inventory reprinted. This inventory of Warrnambool’s old Museum is of considerable historical importance as it is an almost complete record of the Museum’s contents in the 1920s and so is very useful to researchers today.This is an inventory of 190 pages with a cardboard backing. The pages have three punched holes on the left side and are tied together with black and white cotton cord. At the front of the pages is a plastic envelope with a heading. The pages contain typed material, mostly in mauve ink and these are copies of the original typing. The typing on some pages is very faint and two pages have been re-copied to make them more legible. Warrnambool Art Gallery Old Records of the Warrnambool Museum collected by John A.Welsh, Director, and restored by Gaspars Modern Print 25th September 1972. old museum, mechanics institute building, history of warrnambool, joseph archibald

Martha Wright was the proprietor of a fancy goods store in Liebig Street, Warrnambool opposite Jordan's studio. She took art needlework classes offering seven lessons for 5 shillings . Her pupils were successful at local shows and she herself won second prize in the Australian Womens Work Exhibition of 1907 for the best made washing dress for a girl of 12. This item is significant as Mrs.Wright was a prominent business woman in Warrnambool in the early 20th century.White rectangular label with dark blue lines and background .ART NEEDLEWORK AND REQUISITES From Mrs. Wm. Wright LIEBIG ST. WARRNAMBOOL Telephone 158 GOLFERS & KNITTED SUITS A SPECIALITY martha wright, fancy goods, australian womens work exhibition

Walter John Hickford, painter and businessman, was Mayor of Warrnambool 1895-6-7 and President of the Committee that organised the Warrnambool Industrial and Art Exhibition of 1896-7. A skilled decorative artist, he carried out art work in private homes, businesses and churches. His shop in Liebig Street supplied paint materials for households, tradesmen and artists. Hickford Parade is named after Walter Hickford. This is an original label from a picture frame and is of considerable interest, as Walter John Hickford was a prominent citizen and businessman in Warrnambool in the 1860sFaded brown rectangular label with black text and border adhered to a piece of brown paper.W.J.HICKFORD, picture dealer, framer and gilder. Liebig Street, Warrnambool. Mounting and Repairing. OLD FRAMES RE-GILTwalter john hickford, painter, hickford parade, warrnambool

Thomas (Tommy) Rome was a prominent Warrnambool citizen who came to Warrnambool in 1888 and established his footwear shop at 115 Liebig Street in 1907. He retired in 1962. Tommy Rome was also important as the person who recorded songs and skits on an Edison phonograph at the Warrnambool Industrial and Art Exhibition in 1897. These recordings survive today as the earliest surviving sound recordings in Australia.These are labels from a well known business in Warrnambool and so are of some significance..1Rectangular paper label with brown and yellow background, white and brown text and a space for writing. The reverse is adhesive. .2 Rectangular paper white label with dark blue sections, a space for writing and dark blue and white text. The reverse is adhesive. It is damaged. .3 Identical to .2 .4 Identical to .2 ..1 T.J.Rome Liebig St. Warrnambool For Gladstone, Kit & Brief Bags. up=to=date Boot & Shoe Store. .2, .3, .4 THE UP-TO-DATE BOOT AND SHOE STORE FROM, T.J. Rome LIEBIG STREET,WARRNAMBOOL .t.j.rome, boots and shoes, warrnambool

This book is the autobiography of Margaret Lord, a noted Australian interior designer, journalist, colour consultant and author. Born in Warrnambool to Margaret and Henry Lord the author studied art in Melbourne and London and became an interior decorator. In the articles she wrote for the Australian Home Beautiful magazine she promoted Australian interior design and materials. Her 1924 book, ‘Interior Decoration – A Guide to Furnishing the Australian Home’, was the first Australian monograph on interior decorating. She was the first in Australia to establish the role of the interior designer consultant and in 1950 she was one of the founders of the Australian Society of Interior Designers. This book is of considerable importance as it is the autobiography of Margaret Lord, the noted Australian interior decorator and writer. She was born in Warrnambool and this is the only item we have that records her life achievement as a pioneer in Australia of interior design. This is a hard cover book of 215 pages. The hard cover is white with silver-coloured printing on the spine and the dust cover has a cream background with black and pink printing and the image of a pink rose. The pages contain an introduction, a preface, ten chapters of text and an appendix. margaret lord, interior designer, history of warrnambool, australian society of interior designers

This book by Dr Don Edgar, a well-known Australian sociologist, educator and historian, tells of the establishment and development of art galleries in regional Victoria. This includes the Warrnambool Art Gallery, established in the early 1880s. The book documents the efforts of local groups and individuals to set up art galleries and their battles with government indifference and lack of adequate funding extending up to the present day. This book is of considerable interest as it gives details of the founding and development of the Warrnambool Art Gallery, set in the context of the establishment of other early regional galleries in Victoria. It is an important addition to our research library. This is a soft cover book of 400 pages. The cover has a white spine with black printing, a back cover with a colour photograph as a background and black printing and a front cover with a collage of colour photographs as a background with white printing. The pages contain a preface, an introduction, seven parts of text material, an appendix, an index and a bibliography.Don Edgardon edgar, warrnambool art gallery, regional art galleries of victoria, history of warrnambool