This small knob has been manufactured to look like marble. It may have been used as a drawer or door handle, possibly part of the ship's furnishings because it appears to have been broken off its connecting shank. The encrustations on the surface are from being in the sea around 90 years. The knob was recovered from the wreck of the Loch Ard and is part of the John Chance collection. The Loch Ard was a clipper ship built in Scotland in 1873. In 1978 the ship was sailing to Melbourne with 54 people on board as well as a mixed cargo that included items for the 1880 International Exhibition in Melbourne. On June 1st 1878 it was not far from its destination when it crashed into Mutton Bird Island, east of Port Campbell. Only two people survived. The wreck was re-discovered in 1967 and the site is listed as a Historic Shipwreck. (See References and Significance for further information.)This knob is historically significant as it is an example of hardware fittings made and used during the mid-to-late 19th century. This knob is significant for its connection with the John Chance Collection, which is historically significant as an example of artefacts from wrecks that had been lost in the coastal waters of Victoria from thirty to over one hundred years before John Chance and others discovered them. These artefacts are a sample of goods carried as cargo or personal possessions, and of ship hardware of that era. The knob is significant through its connection with the clipper ship Loch Ard (1873-1878), which is historically significant to both Victoria and Australia. The loss of the ship has been described as one of the ‘worst shipwreck tragedies’ and is well known in Victoria for the tragic death of 52 out of the 54 lives on board. The Loch Ard wreck is historically significant as a large international passenger and cargo clipper ship. It is registered on the Victorian Heritage Database VHR S417. The wreck site is labelled as ‘one of Victoria’s most spectacular diving sites’ and the area is a popular tourist site. It is part of Victoria’s Underwater Shipwreck Discovery Trail. Knob or handle; ceramic (faux marble), dome with flat base, brown colour with orange and cream swirls through it, polished surface. Base has two embedded round, rough-edged metal fittings. Encrustations adhere to the polished surface in pleases. Clear tape keeps large broken chip intact. Another chipped area reveals the rough inner surface of the marble.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, john chance, loch ard, knob, handle, door hardware, ceramic, faux marble, vintage, antique, cabinetry, door pull, drawer pull

This broken, handmade black glass bottle was made around the mid 1800s. The bottle was found in the coastal waters of Victoria about 100 years from when it was made. It is now part of the John Chance collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late-1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to be made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body was blown, the glass blower continued blowing free-form (without the mould) to form the shoulder and neck, then the base was pushed up with a pontil tool, and the finish for the mouth was added. The dip mould gives the body a slightly textured surface, with the free blown shoulders and neck usually looking smoother and shinier. A horizontal line can often be seen around the shoulder where the mould of the body meets the free-blown shoulder. A lump or mark in the centre of the base, called a 'ponty' mark (named after the pontil tool), is also common on this type of bottle. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 1800s. (Similar bottles were recovered from the 'Loch Ard' shipwreck, lost in 1898.) The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. Bottle, thick black glass (dark olive) with matt surface. Mouth has been broken off, leaving sharp edges. Short neck, wide shoulders, body tapers slightly inwards towards base. Wide uneven heel and deep concave base with a fold line in glass. No visible seams.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, bottle, black glass, antique bottle, handmade, mouth blown, blown bottle, liquor bottle, ale bottle, 19th century bottle

This broken black glass bottle has been handmade from about the 1840s to 1870s. The bottle, possibly used to store ale or soda or mineral water, was found in the coastal waters of Victoria. It is part of the John Chance Collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late 1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a three piece dip mould with a cylindrical base and two removable neck pieces. The molten glass was blown into the mould to give the body a uniform symmetrical shape and size. After the bottle was blown, the glassblower removed it from the mould then the base was pushed up with a pontil tool that gave it the concave shape. The finish for the mouth was added by hand or with another tool to form the ring collar. The mould gives the body a slightly textured surface. There is usually a line around the shoulder and on the sides of the neck where the mould meet, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. Although this bottle is not linked to a particular shipwreck, it is recognised as a historically significant example of handmade, 1840s to 1870s beverage bottles imported for use in Colonial Victoria. The bottle is also significant for its association with John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several shipwrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, black glass. Mouth is broken off. Roughly applied ring collar. Bottle has shoulder seam and two neck seams. Heel is uneven, base is concave with tool mark. Glass has crease lines, a drip and imperfections. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, collectable, bottle, dip mould, soda bottle, ale bottle, beverage bottle, black bottle, three pece mould

This broken black glass bottle has been handmade from about the 1840s to 1870s. The bottle, possibly used to store ale or soda or mineral water, was found in the coastal waters of Victoria. It is part of the John Chance Collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late 1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a three piece dip mould with a cylindrical base and two removable neck pieces. The molten glass was blown into the mould to give the body a uniform symmetrical shape and size. After the bottle was blown, the glassblower removed it from the mould then the base was pushed up with a pontil tool that gave it the concave shape. The finish for the mouth was added by hand or with another tool to form the ring collar. The mould gives the body a slightly textured surface. There is usually a line around the shoulder and on the sides of the neck where the mould meet, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. Although this bottle is not linked to a particular shipwreck, it is recognised as a historically significant example of handmade, 1840s to 1870s beverage bottles imported for use in Colonial Victoria. The bottle is also significant for its association with John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several shipwrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, black glass, 'gallon' style. Applied broken lip, wide collar. Shoulder seam, two side seams, body tapers inwards towards base. Concave base. Glass has bumps, creases and imperfections.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, collectable, bottle, dip mould, soda bottle, ale bottle, beverage bottle, black bottle, three pece mould

This broken black glass bottle has been handmade from about the 1840s to 1870s. The bottle, possibly used to store ale or soda or mineral water, was found in the coastal waters of Victoria. It is part of the John Chance Collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late 1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a cylindrical dip mould. The molten glass was blown into the mould to give the body a uniform symmetrical shape and size. After the body was blown, the glassblower removed it from the mould and formed the shoulder and neck by free-blowing the glass. The base was pushed up with a pontil tool that gave it the concave shape. The finish for the mouth was added by hand to form the collar. The mould gives the body a slightly textured surface. There is usually a line around the shoulder where the mould meet the base, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. Although this bottle is not linked to a particular shipwreck, it is recognised as a historically significant example of handmade, 1840s to 1870s beverage bottles imported for use in Colonial Victoria. The bottle is also significant for its association with John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several shipwrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, black glass, 'gallon' style. Applied lip, straight collar with circular lines from being hand moulded. Shoulder seam, body tapers inwards towards base. Heel has varied width, shallow base has small pontil mark. Mouth is chipped. Glass is discoloured and has uneven surface and encrustations. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, collectable, bottle, dip mould, soda bottle, ale bottle, beverage bottle, black glass

This light hanging mechanism could have been used for an adjustable chandelier with candle holders. It would likely be attached to the ceiling by its long stem to suspend the light fitting. A chain would have been threaded around each pulley, with one end joined to the top of the light fitting and the other end joined to a counter weight. The four counter weights would allow the light fitting to be raised or lowered to the desired height with little effort, to allow for lighting the candles or change the intensity of the light. This light fitting was once installed on the famous sailing ship, the Loch Ard, which was built in 1873 and tragically wrecked in 1878.The fitting was recovered from the wreck almost 100 years later, at the time it was discovered. LOCH ARD 1873-1878 – The Scottish-built clipper ship Loch Ard was bound for Melbourne in 1878 with 54 people on board. The mixed cargo it carried included items for the 1880 International Exhibition in Melbourne, one of which was the now famous Majorca ware Minton ‘Peacock’ statue. The Loch Ard was wrecked on June 1st when the ship crashed into Mutton Bird Island, east of Port Campbell. The only survivors were Tom Pearce, a crew member, and Eva Carmichael, a young passenger who was rescued by Pearce. The Gibsons, owners of nearby Glenample Homestead, cared for Tom, and for Eva who stayed longer before returning to Ireland. The wreck of the Loch Ard was discovered in 1967, before the introduction of the Victorian historic shipwreck legislation. In 1969 it was decided that all recovered material should be lodged with the Receiver of Wrecks. In 1980 Flagstaff Hill Maritime Museum Divers received a permit to recover artefacts from the wreck to safeguard them from looters. In 1982 the site was listed as a Historic Shipwreck, and the Maritime Archaeology Unit recovered loose artefact material. The light fitting is recognised as being historically significant as an example of lighting either as part of the ship ‘Loch Ard’ or part of the ship’s cargo, imported for use in Colonial Victoria in the 19th to early 20th century. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Light fitting; hanging mechanism with simple pulley wheels for pendant light. Metal pipe, closed and hooked at one end, stem has three decorative rings, and open end has a short narrower metal pipe inserted. Narrow pipe has a three tiered, scallop-edged dome attached to the end. The dome encloses remnants of broken chain length and is attached to a set of four pulley wheels arrayed in a circle with their edge sat right angles to each other. The light fitting was recovered from the wreck of the Loch Ard.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, victoria, eva carmichael, tom pearce, lighting, lidht fitting, pendant light, chandelier, pulley light, adjustable height light

Found in Bendigo One Tree Hill early 2020 near a sandstone mine cutting outcrop near the large water tank.One complete rusted horseshoe and one broken rusted axe head.horseshoe, axe head, fossicking finds, one tree hill bendigo

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

Mr. F. Davis received word that Private Alf Elliott who enlisted at Carisbrook 18 months ago, had been severely wounded in France, a bone in the leg being broken. (Maryborough Advertiser, 25 May 1917) Photograph of an Australian World War One Soldier, Alf Elliott. em22, carisbrook, alf elliott, world war one

Mr. F. Davis received word that Private Alf Elliott who enlisted at Carisbrook 18 months ago, had been severely wounded in France, a bone in the leg being broken. (Maryborough Advertiser, 25 May 1917) Photograph of an Australian World War One Soldier, Bert Elliott. em22, carisbrook, world war one, bert elliott

Black and White prints contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Set of two photographs of the AETA Special trams Golden Jubilee Anniversary Saturday 11-4-1953, by Keith Kings. .1 - Bogie 23 and Birney 29 and service car 20 at Golden Square. .2 - Birney 29, Bogie 23 at Quarry Hill. On the rear in blue ink .1 - "Bendigo, AETA specials Bogie 23 & Birney 29 (also service car 20), at Golden Square, Saturday 11/4/53. /Golden Jubilee Celebrations. (Two flags broken off drop centre roof by centre pole notices!!!!)" .2 - "Bendigo, AETA specials Bogie 23 & Birney 29, at Quarry Hill, Saturday 11/4/53. /Golden Jubilee Celebrations." Both have the K. S. Kings copyright stamp in the top right hand corner, and the numbers H(f)(iii) and H(e)(ii) written in respectively.trams, tramways, bendigo, decorated trams, gold tram, quarry hill, golden square, aeta

Lavers Hill General Store, or more usually, Hampshire's Store, was owned initially for two years by Hampshire and Hutley, and then for 17 years by Mr and Mrs P. Hampshire (senior) who serviced the area including during the Depression. On their retirement their son, Percy, went into partnership with Leo Brauer for four years, and then ran it with his wife, Nea, for a further eight years until the store burnt down. The Store was a placed where the community congregated. It was a place where people met or waited for the train or the Cream Bus or the Mail Bus. Inside it was a place where you could buy groceries, fruit and vegetables, footwear, petrol, and so on. It was a place where children could buy a big stick of licorice for a halfpenny or 3d. worth of broken biscuits. Blackwood Gully Tea Rooms now stands in its place. B/W. Laver's Hill General Store, c.1945, with petrol bowser and sedan outside, and the level crossing to the right and the level crossing sign midfield.lavers hill; general store; railways; petrol bowser; hampshire; hutley; leo brauer;

Series of Black and White Photos Post War Life for Hill Family & Friends. Total 8 Photos. Kath 'The Ranche' Eppalock September 1919. Kath dressed in 20's ? Dark dress, fur stole around neck, cloche hat, corrugated iron fence with wooden rail on top, garden setting. Arch, wearing white shirt waistcoat and dark trousers, gable roofed house in background, brick chimney left, tree at corner of house roof, Monte Video Queensland July 1924. Four ladies all wearing dark skirts and white blouses, all wearing broad rimmed hats, windmill tank on stand in background, tall post and wire netting, structure to the right, Kilmore October 1919. A Swan on the reservoir unknown place January 1920. lady wearing dark skirt and white blouse and hat, holding ball in left hand, right hand maybe swinging a tennis racquet ( not visible), post and rail fence in the far background. Lady sitting on stool wearing a dark skirt and white blouse, high post and wire netting fence, dark coloured horse to left, post and rail fence far right background, holding a camera bag and camera on stool beside her. Flirt the Dog, standing in doorway, door is broken and leaning to the right, shed has wide timber planks for cladding, 'The Ranche' Eppalock November 1919. Helen Mount Buffalo Tobogganing, wearing dark skirt, jacket with striped sleeves, and hat, August 1924.Hilda Hill Personal Collectionaustralia, history, post war life

Model of Bendigo bogie, ex Hawthorn Tramways Trust, four centre doorways, tram, No. 23 in a SEC colour scheme with the destination of Quarry Hill. The Modeller has detailed the seats throughout the tram and the controls. Balsa wheels had broken off, repaired with 'O' gauge wheels along with other parts by the Museum's model builder.Demonstrates model tram building. One of a series of Ballarat and Bendigo tram models. Not known who built them.Model tram - made from Balsa wood, cardboard, paint, metal, styrene, wire.models, trams, bendigo, bogie tramcars, tram 23

105 p. : ill. (some col.), facsims ; 27 cm.non-fictionTrade union movement in Australia from the mid 1880s. Discusses the significance of the labour cartoonists in highlighting social and political issues; analyses the activities of the community at Broken Hill and how those actions grew to affect the working conditions of the whole nation; traces the rise of the 8 Hour Day movement and celebrations.labor and labouring classes -, australia -- history, work -- history, australia - social conditions

By arrangment with local and family history librarian, Myra Dowling, this diary was transcribed by Sandra Dexter from the original, which was donated to the City of Boroondara Library Service following the Boroondara Remembers project in 2015. It is a day-to-day account of a soldier's experience going to fight in World War 1, 1914-1919. Robert Thomas Garford (SERN 1138) was born in Fitzroy in 1892. He was aged 23 and living in Camberwell when he enlisted on 14 September 1914. He embarked from Melbourne on board HMAT A38 Ulysses on 22 December 1914. He was a sapper with the 2nd Divisional Signal Company. He was awarded a Military Medal: 'At CLERY, near MT.ST. QUENTIN, on the 31st of August 1918, this soldier was engaged as a linesman at the Brigade Forward Station. Throughout the day forward lines were repeatedly broken by enemy shell fire. Despite this Sapper FARFORD [sic], with very conspicuous coolness patrolled the lines from end to end repairing one break after another. His untiring efforts were responsible for the constant maintenance of communications from the Brigade Station to the Battalions.' Source: 'Commonwealth Gazette' No. 115, 10 October 1919. He returned to Australia 3 December 1918. He married Annie Christina Devine in 1941. They lived at 16 York Street, Surrey Hills and later 17 Blackburn Street, Surrey Hills. He died 30 May 1969 at Surrey Hills and is buried in Box Hill Cemetery: P-A-0054.A day to day account of a soldier's experience going to fight in World War 1, 1914-1919world war, 1914-1918, diaries and journals, (mr) (sapper) r garford, box hill cemetery, robert thomas garford

Date is approximate. Donor's connection with Armitstead's Woodyard was that Frank Foley was a long term employee. The Empire Day movement was instituted in England in 1904 and on 24 May 1906 a group of Surrey Hills residents pledged to make Empire Day a success. From 1932-1938 large Empire Day celebrations were held in Surrey Hills and business and commercial vehicles were decorated to take part in large processions held in May each year. These attracted large crowds from all over Melbourne. The truck is parked outside Nethercourt Hospital at 15 Barton Street. The Armitstead family had a business in Union Road which supplied wood in winter and ice in summer. Photos such as this one are evidence of the importance once attached to celebrating Empire Day, which was held on 24 May (Queen Victoria’s birthday). From 1905, a range of patriotic activities across Australia were performed on this day. There was a focus on schoolchildren, who were given a half-holiday, and the occasion was often highlighted with bonfires and fireworks in the evening - in this area at Beckett Park. The parade down Union Road was famous throughout Melbourne and attracted large crowds. Floats in the parade were often decked with British flags. The pro-Empire sentiment in the Surrey Hills area in part reflected the background and strong ties of many families.Black and white photo of a delivery truck with bunting and ferns over the cabin and back. The wheels have straws around the rims and more foliage is on the cabin roof and bonnet. The back of the tray is up and boxes, foliage and possibly a lion's head decorate the tray. Behind is a 2 storey (?) rendered building with an external timber staircase broken in 2 by a landing. The house sits behind a simple picket fence.On the cabin door of the truck: "S ARMITS ....[remainder in shadow] / Surrey Hills / phone 10X1816 / [undecipherable]" On back of the original in pencil in top centre left "446a" in Jocelyn Hall's handwriting; centre on a piece of paper stuck on with tape "Mrs D Foley / 39 Sunbury Cres., / Surrey Hills / Phone 8301163".empire day, festival and celebrations, woodyard, parades, processions, hospitals, nethercourt hospital, stephen godfrey armitstead, frank foley, mrs d foley, barton street

The engine was being transported because it had broken a coupling in transit. Windsor Crescent is in the background. We have an original copy donated by Ian Barkla and a larger one copied by Ken Hall. The Barkla original has a sticker with his reference details on the back.A black and white photocopy of a steam engine. There are some local kinder children and an adult inspecting the train and climbing on the picket fence. The house in the background is in Windsor Crescent.surrey hills railway station, goods yard, steam train, transporter wagon, 1950, children, clothing and dress

Built in 1889. Was known as 'Willcyrus' during the occupancy of Lieutenant Colonel (Lt Col) William McGregor Cairncross and family. It was named after two of his sons - Sergeant William McGregor Cairncross and Trooper Cyrus Hay Cairncross, who served with the 2nd Scottish Horse during the Boer War and in British units in the First World War. Lt Col Cairncross served at the Victoria Barracks in Melbourne for 25 years. During the Boer War he was controller of stores at Victoria Barracks. It was renamed 'Medlow' when it became the home of Dr Richard Joseph Bull (1874-1927) and his wife Catherine Grace, nee Perrier (1884-1972) in 1911. Richard Joseph Bull was the Director of Bacteriology at Melbourne University. Norma was a noted artist and was born in Hawthorn in 1906; her brother Ronald Richard was born in Surrey Hills in 1912. Fundraising events were held there during the First World War. The property was left to the National Trust of Victoria but the costs of maintenance forced the Trust to sell it and it has returned to private ownership.A coloured photograph of a timber building in the grounds of 'Medlow'. It has ornate barge boards and fretwork. The glass in the window is broken.medlow, house names, warrigal road, surrey hills, (mrs) catherine bull, (miss) norma bull, house styles, late victorian boom style, (miss) catherine perrier, (mr) richard joseph bull, (mr) ronald joseph bull, (lt) (col) (mr) william mcgregor cairncross, (mr) william mcgregor cairncross, (mr) cyrus hay cairncross, willcyrus, garden parties, fundraising, first world war

The original owner was Louis Kolling.An antique thick rectangular photograph album made of dark tan leather with an elaborate embossed floral and leaf design on the front and back covers. The brass clasp on the side is in working order but is broken. It contains 24 thick double sided cardboard pages which have sepia family photographs inserted. There are several missing photographs. Each picture has the name of the photographic studio printed at the bottom of it. Some photos have names written beneath them in blue writing. Each page has beautiful hand painted coloured flowers and leaves decorating them. At the front is a highly coloured decorative floral title page with the word - Album. On the back of this page is a blank Index with 100 spaces to write the names of those in the photographs. The whole album as quite worn and damaged with several inscriptions.'On the front right side endpaper is handwritten on the textured page in blue ink 'Mrs Kelling, a present from Mrs Bond'. Painted ornately in colourful paints is 'Martha Bond' There is a strip of paper included on this page handwritten in blue biro 'Donated posthumously by Louis Kolling, a first cousin and neighbour of Edmund L. Burgi'. On the back endpaper handwriitten in grey pencil ''Via Lilydale' On the last page of photographs on the opposite page is handwritten in blue ink 'Mrs Kolling Clifton Hill.' which is underlined.photographs, albums, photograph albums, photographic accessories

Piece of paper with a sketch of a Scalebuoy Unit used in conjunction with water treatment & Plant attached to a wood fired Boiler at the Pyramid Hill Butter Factory. Sketch shows the Scalebuoy Unit. Note at the bottom mentions that he did not see the unit as it was intended for use. The unit had been broken up when he first saw it. Would have been about thirty mercury flasks, each of which was covered in an easily removable film of salt deposit. Interest was sparked after cleaning one of the flasks and seeing the engraving. He regretted not taking the whole of the unit. On the back is written the name - Frank Honeychurch-8 Harley St, Bendigo 1/3/02.sciences, instruments - general, scalebuoy, bill ashman collection - correspondence, pyramid hill scale buoy butter factory, frank honeychurch

Index, bib, ill, maps, p.79.non-fictionApart from Broken Hill, Maitland was the only New South Wales regional city to have a tramway systemtramways - maitland, steam trams - maitland

The design of the corkscrew may have been derived from the gun worm, which was a device from at least the early 1630s, used by men to remove unspent charges from a musket's barrel in a similar fashion. The corkscrew is possibly an English invention, due to the tradition of beer and cider, and the 'Treatise on Cider' by John Worlidge in 1676 describes "binning of tightly corked cider bottles on their sides", although the earliest reference to a corkscrew is, "steel worm used for the drawing of Corks out of Bottles" from 1681. In 1795, the first corkscrew patent was granted to the Reverend Samuel Henshall, in England. The clergyman affixed a simple disc, now known as the Henshall Button, between the worm and the shank. The disc prevents the worm from going too deep into the cork, forces the cork to turn with the turning of the crosspiece, and thus breaks the adhesion between the cork and the neck of the bottle. The disc is designed and manufactured slightly concave on the underside, which compresses the top of the cork and helps keep it from breaking apart. In its traditional form, a corkscrew is simply a steel screw attached to a perpendicular handle, made of wood or some other material. The user grips the handle and screws the metal point into the cork, until the helix is firmly embedded, then a vertical pull on the corkscrew extracts the cork from the bottle. The handle of the corkscrew allows for a commanding grip to ease removal of the cork. https://en.wikipedia.org/wiki/CorkscrewThis object is significant as an example of an item in common use since the late 17th century.Metal corkscrew with wooden handle that is partly broken. Has metal steel spike to create a starting point for the use of the corkscrew. Very rusty. None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, corkscrew, beverages, kitchen equipment, bottle opener

Newspaper clipping. Clipping possibly from 1958. Policemen On Eaglehawk Trams. In the Good Old Days. A man who retired yesterday after almost half a century connected with the Bendigo's trams, recalled the time when a policeman had to travel on the last tram to Eaglehawk to maintain order. He was Mr Evans, began in 1910 as a conductor, became a motorman, then traffic inspector, appointed tramways superintendent in May, 1928. When he retires he will be in his 48th year of service.. Received callers wishing him well in his retirement, was besieged with telephone calls and telegrams in his office the S.E.C. buildings, received a presentation of a framed photograph of himself at work from the tramway inspectors and a presentation from the staff and employees. Complimentary dinner at the Hotel Shamrock. Wages for conductors in 1910, 1 pound 2/6 for 60 hours, Motormen received 1 pound 10. No windscreen in trams. No sick pay.Tram drivers had to attend broken trolley wires, repairs or replacements in controllers and general equipment, to rerail trams when derailed, adjust brakes. Welsh, Cornish and Irish miners often sang on the trams. Policemen had to travel on the last tram at night to maintain order. Tram ticket obtained from conductors. 'Passengers could travel between Eaglehawk and Quarry Hill, a distance of almost 11 miles, at a charge of sixpence return,' said Mr Evans. Combination tickets included return tram fares and admission to the theatre. The prices varied according to the theatre seats.bendigo trams, ram, policeman, conductor, superintendent 1928, motorman, began 1910, telegrams, sec buildings, repairs, ticket prices, singing miners, tram prices, sick pay

Formal photograph taken on the occasion of the official opening. Wilson's private Cool Stores at Hurstbridge comprised six cooling chambers with a refrigeration plant to be used by local growers to store their produce. This photo was found in the Savage family home, formerly the home of Rev. Chase believed to be formerly of Panton Hill or Hurstbridge. (House may have been shifted from Panton Hill - now demolished.) Rev. Chase probably in picture, although not reported as attending in any of the newspaper reports of the day.This photo represents the significance of the orcharding industry in the Hurstbridge and surrounding area at the beginning of the twenteith century. The state of the art facility was built by private enterprise.Sepia photograph mounted on cardboard mount with printed title. Mount 55.9 x 76.0 cm. Photo 38.2 x 60.5 cm. Mount significantly damaged/broken on lower corners and slightly broken off at top left hand corner. Various other damage and chips around perimeter. Digital scan cropped from full size of mounthurstbridge, opening, celebration, orcharding

Set of five colour photographs of the repair of northern end of Wendouree Parade. Photos taken on 5 and 6/4/2003, printed on AGFA paper. 2557.1 - The general scene with the new kerb and channel on the north side - backfilling around the sleepers 5/4/03. 2557.2 - Packing between the sleepers, Len Millar, Sam Boon and Richard Gilbert 5/4/03. 2557.3 - Welding track bonds - Paul Mong 6/4/03 2557.4 - Packing the broken joint area - Simon Green, Alan Snowball, Gary Wood, Bryan Hill, Paul Mong and Peter Winspur with No. 8 in the background. 6/4/03. 2557.5 - Testing the track with No. 8 - Garry Wood and Sam Boon.trackwork, wendouree parade, track, tram 8

HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Ladies fob watch, gold, covered in encrustation (small section has broken off to reveal the engraved surface). Face and hands are missing, revealing the workings. Found in the Loch Ard gorge and said to have been from the Loch Ard.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, ladies fob watch, gold watch, fob watch, pocket watch, horology, accessory, time keeping, scientific instrument

Art Gallery with mural painted by Clifton Pugh (1924-1990) at his Artists' Colony, Dunmoochin, Barreenong Road, Cottles Bridge. Following military service in the second world war, Clifton Pugh studied under artist Sir William Dargie at the National Gallery School in Melbourne as well as Justus Jorgensen, founder of Montsalvat. For a while he lived on the dole but also worked packing eggs for the Belot family saving sufficient to purchase six acres (2.4 ha) of land at Barreenong Road, Cottles Bridge. He accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in a property of approximately 200 acres, stablishing it as one of the first artistic communes in Australia alongside Montsalvat in Eltham. It was around 1951 that Pugh felt he had '"done moochin' around" and so the name of the property evolved. He bought timber from Alistair Knox to build his house on the crest of a hill. Inspired by local goldminer's huts, it was a one room wattle-and-daub structure with dirt floor. Over the years it expanded with thick adobe walls made from local clay, high ceilings and stone floors. All materials other than the local earth were sourced from second hand materials, most found at wreckers' yards. Artists from across the nation were drawn to Dunmoochin, with several setting up houses and shacks on the property, maintaining their independence but sharing their artistic zeal. Artists who worked or resided at Dunmoochin included Mirka Mora, John Perceval, Albert Tucker, Fred Williams, Charles Blackman, Arthur Boyd and John Olsen. In 2002, Pugh's house along with its treasure trove of art and a library of some 20,000 books was destroyed by fire. Traces of Pugh's home remain with the presence of the Victorian doorframe archway with leadlight of intricate design, procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. In place of Pugh's house rose two double-storey mud-brick artists' studios topped with corrugated iron rooves curved like the wings of a bird with accommodation for seven. The original studios, gallery and other buildings survived the fire. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p153 It’s not surprising that artist Clifton Pugh was drawn to Cottles Bridge to establish his artists’ colony Dunmoochin. Undisturbed by the clamour of modern life at Barreenong Road, Pugh was surrounded by the Australian bush he loved, and where his ashes were later scattered. The 200 acres (81ha) of bushland, broken by glimpses of rolling hills, has more than 50 species of orchids and Pugh shared his property with native animals including kangaroos, emus, phascogales, wombats, and diverse bird life. Pugh encouraged these creatures to join him in the bush by creating, with Monash University, a holding station where the animals were raised. Dunmoochin inspired Pugh for such paintings as in a book on orchids and the Death of a Wombat series.1 But his love for the bush was accompanied by the fear that Europeans were destroying it and much of his painting illustrated this fear and his plea for its conservation.2 However it was his house rather than the surrounding bush that was to be destroyed. Tragically in 2002 Pugh’s house, with its treasure of art and library of 20,000 art books, was destroyed by fire. Traces of the beauty of Pugh’s home still remain, however, in the magnificent Victorian doorframe archway with leadlight of intricate design procured from a demolished Melbourne mansion; and two bronze life-sized female statues created by Pugh and cast by Matcham Skipper. Now in place of Pugh’s house, are two double-storey mud-brick artists’ studios topped with corrugated roofs curved like birds’ wings, with accommodation for seven. The original studios, gallery and other buildings remain.3 Pugh grew up on his parents’ hobby farm at Briar Hill and attended the Briar Hill Primary School, then Eltham High School and later Ivanhoe Grammar. At 15 he became a copy boy for the Radio Times newspaper, then worked as a junior in a drafting office. Pugh was to have three wives and two sons. After serving in World War Two in New Guinea and Japan, Pugh studied under artist Sir William Dargie, at the National Gallery School in Melbourne.4 Another of his teachers was Justus Jörgensen, founder of Montsalvat the Eltham Artists’ Colony. Pugh lived on the dole for a while and paid for his first six acres (2.4ha) at Barreenong Road by working as an egg packer for the Belot family. Pugh accumulated more land and persuaded several other artists and friends to buy land nearby, resulting in the 200 acre property. They, too, purchased their land from the Belot family by working with their chickens. Around 1951 Pugh felt he had ‘Done moochin’ around’ and so the name of his property was born. Pugh bought some used timber from architect Alistair Knox to build his house on the crest of a hill. Inspired by local goldminers’ huts it was a one-room wattle-and-daub structure with a dirt floor. It was so small that the only room he could find for his telephone was on the fork of a tree nearby.5 Over the years the mud-brick house grew to 120 squares in the style now synonymous with Eltham. It had thick adobe walls (sun-dried bricks) made from local clay, high ceilings and stone floors with the entire structure made of second-hand materials – most found at wreckers’ yards. Pugh’s first major show in Melbourne in 1957, established him as a distinctive new painter, breaking away from the European tradition ‘yet not closely allied to any particular school of Australian painting’.6 Pugh became internationally known and was awarded the Order of Australia. He won the Archibald Prize for portraiture three times, although he preferred painting the bush and native animals. In 1990 not long before he died, Pugh was named the Australian War Memorial’s official artist at the 75th anniversary of the landing at Gallipoli. Today one of Pugh’s legacies is the Dunmoochin Foundation, which gives seven individual artists or couples and environmental researchers the chance to work in beautiful and peaceful surroundings, usually for a year. By November 2007, more than 80 people had taken part, and the first disabled artist had been chosen to reside in a new studio with disabled access.1 In 1989, not long before Pugh died in 1990 of a heart attack at age 65, he established the Foundation with La Trobe University and the Victorian Conservation Trust now the Trust for Nature. Pugh’s gift to the Australian people – of around 14 hectares of bushland and buildings and about 550 art works – is run by a voluntary board of directors, headed by one of his sons, Shane Pugh. La Trobe University in Victoria stores and curates the art collection and organises its exhibition around Australia.2 The Foundation aims to protect and foster the natural environment and to provide residences, studios and community art facilities at a minimal cost for artists and environmental researchers. They reside at the non-profit organisation for a year at minimal cost. The buildings, some decorated with murals painted by Pugh and including a gallery, were constructed by Pugh, family and friends, with recycled as well as new materials and mud-bricks. The Foundation is inspired by the tradition begun by the Dunmoochin Artists’ Cooperative which formed in the late 1950s as one of the first artistic communes in Australia. Members bought the land collaboratively and built the seven dwellings so that none could overlook another. But, in the late 1960s, the land was split into private land holdings, which ended the cooperative. Dunmoochin attracted visits from the famous artists of the day including guitarists John Williams and Segovia; singer and comedian Rolf Harris; comedian Barry Humphries; and artists Charles Blackman, Arthur Boyd and Mirka Mora. A potters’ community, started by Peter and Helen Laycock with Alma Shanahan, held monthly exhibitions in the 1960s, attracting local, interstate and international visitors – with up to 500 attending at a time.3 Most artists sold their properties and moved away. But two of the original artists remained into the new millennium as did relative newcomer Heja Chong who built on Pugh’s property (now owned by the Dunmoochin Foundation). In 1984 Chong brought the 1000-year-old Japanese Bizan pottery method to Dunmoochin. She helped build (with potters from all over Australia) the distinctive Bizan-style kiln, which fires pottery from eight to 14 days in pine timber, to produce the Bizan unglazed and simple subdued style. The kiln, which is rare in Australia, is very large with adjoining interconnected ovens of different sizes, providing different temperatures and firing conditions. Frank Werther, who befriended Pugh as a fellow student at the National Gallery Art School in Melbourne, built his house off Barreenong Road in 1954. Werther is a painter of the abstract and colourist style and taught art for about 30 years. Like so many in the post-war years in Eltham Shire, as it was called then, Werther built his home in stages using mud-brick and second-hand materials. The L-shaped house is single-storey but two-storey in parts with a corrugated-iron pitched roof. The waterhole used by the Werthers for their water supply is thought to be a former goldmining shaft.4 Alma Shanahan at Barreenong Road was the first to join Pugh around 1953. They also met at the National Gallery Art School and Shanahan at first visited each weekend to work, mainly making mud-bricks. She shared Pugh’s love for the bush, but when their love affair ended, she designed and built her own house a few hundred yards (metres) away. The mud-brick and timber residence, made in stages with local materials, is rectangular, single-storey with a corrugated-iron roof. As a potter, Shanahan did not originally qualify as an official Cooperative member.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, art gallery, clifton pugh, dunmoochin, cottlesbridge, cottles bridge, barreenong road