This earthenware dinner plate was donated by Lorna Jensen. It had belonged to her father Wally O’Brien, who was a cyclist and had ridden in the long Melbourne to Warrnambool Cycle Classic twice. Wally was given this plate by a diving friend who had recovered it from the wreck of the LOCH ARD, on the southwest coast of Victoria. The plate had been sitting in Lorna’s mum’s china cabinet until recently when she and her husband drove to Warrnambool to donate it to Flagstaff Hill Maritime Village. When they stopped at a friend’s home along the way the friend removed it from its plastic bag and tea towel and carefully wrapped it in protective packaging for the rest of its journey. The plate is very similar to other plates recovered from the wreck of the LOCH ARD. It is uncertain whether the plates were personal belongings or part of the cargo. The Asiatic Pheasant pattern is a transfer design and was the most popular design of the 19th-century Victorian era. It is still being produced today. The design was produced as high-quality, decorative dinnerware by the potters in the Staffordshire, England, area from the late 1830s, but no one is sure exactly who the original designer was. The industrial age made the production of this design more affordable to the ordinary person who purchased and proudly displayed settings in their homes. The high demand for production resulted in the loss of quality in both potting and design, particularly between 1860-1914 when the design reached its height of popularity, and the results were often a poor match for the earlier pieces’ quality and detail. Some engravers would make copies of the Asiatic Pheasant design (and other designs) onto copper plates and sell them to more than one pottery producer (the Copyright Act of 1842 was intended to control this very thing). Consequently, the list of Makers’ Marks associated with the Asiatic Pheasant is well over 100. A single pottery factory could have several owners, all with their own Marks. These factors all make the dating of pieces difficult. Also, after 1891, pieces produced for export were required to be stamped with “ENGLAND”, but pieces produced for the domestic market in England did not need this stamp, so early pieces and pieces produced for the domestic market would all be without the “ENGLAND” stamp, confusing the matter. Over time the body shape of the pieces changed, the feathered, curved and fluted edges giving way to simpler, cheaper oblong shapes. 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, umbrellas, 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 were intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3 am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold their 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 a 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 were 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.Plate, earthenware dinner plate recovered from the wreck of the Loch Ard. Blue transfer design (Asiatic Pheasant) with a clear over-glaze. The outer rim is scalloped. Printed within cartouche on underside of plate "_ H E C L " Printed within cartouche on plate "_ H E C L "flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, tom pearce, eva carmichael, loch ard, asiatic pheasant design, dinnerware, ceramic plate, wally o’brien, dinner plate

These images capture for all time Light Horsemen travelling through Geelong on their way to camp at Torquay for the last Group meeting in Australia . information following - details obtained from .........https://torquayhistory.com/light-horse-brigade/ On Australia Day, 1997, Sir John Young unveiled this plaque on Point Danger, Torquay. Torquay history, Light Horse Training Camp, WW2 Plaque at Pt. Danger Note----- (See images to view plaque) The plaque identifies a significant event in Torquay’s history and the sentiments of ‘change’ for the Light Horse Brigade – from horses to machines. In 1940 the four Light Horse Regiments (4th, 8th, 13th and 20th), some 5000 Light Horse and 2000 horses camped and trained at Torquay. Three other regiments, formerly mounted on horses, were also at Torquay ‘mounted’ on privately owned trucks and cars. Division troops included Artillery, Engineers, Signals, Field Ambulance and other branches of the Army necessary to enable a Division to function. It wasn’t just the sheer numbers of men coming to this little town that made the event significant, it was also the fact that the men of the Light Horse were dramatic, almost glamorous figures and it is easy to see their exploits as some splendid adventure. Horses have played a special role in the story of Australia. They were the only means of transport across this huge country, so it was necessary for everyone to have the ability to ride a horse. When war broke out in 1899 between Britain and the Boers of South Africa (“Boer” was Dutch for “farmer”) Australia sent troops to fight. At first Britain was wary of using untried, unprofessional colonial cavalrymen but soon saw that the slouch-hatted Australian “bushmen” were a match for the fast-moving and unconventional mounted commandos of the Boers. The Australians proved themselves to be expert rough-riding horsemen and good shots. Bush life had hardened them to go for long periods with little food and water. They also showed remarkable ability to find their way in a strange country and use its features for cover, in both attack and defence. By 1914, when Australia joined the war against Germany, there were 23 Light Horse regiments of militia volunteers. Many men from these units joined the Light Horse regiments of the Australian Imperial Force (AIF). Men were given remounts (if not using their own horses) – army horses bought by Commonwealth purchasing officers from graziers and breeders. These were called “walers” because they were a New South Wales stockhorse type – strong, great-hearted animals with the strains of the thoroughbred and semi-draught to give them speed, strength and stamina. On 1st November, 1914, Australia’s First Infantry Division and the first four Light Horse regiments sailed for England in a fleet of transport ships. The first of the Light Horse arrived at Gallipoli in May without their horses. Back with their horses after Gallipoli, they were formidable combatants across the Sinai and Palestine. Some British commanders observed that the light horseman moved with a “lazy, slouching gait, like that of a sleepy tiger” but described how the promise of battle “changes that careless gait, into a live athletic swing that takes him over the ground much quicker than other troops”. They had Light Horse, Torquay, training campdeveloped a reputation as formidable infantrymen. The Turks called them “the White Ghurkas” – a reference to their deadly skill with the bayonet. The Arabs called them “The Kings of the Feathers”. The plume had originally been a battle honour of the Queensland Mounted Infantry for their work in the shearer’s strike of 1891. During WW1 it was adopted by almost all the Light Horse Regiments. It was the proud badge of the light horseman. The most famous of their battles was the attack on Beersheba- the charge of the 4th Light Horse Brigade. Mounted infantrymen and their superb walers had carried out one of the most successful cavalry charges in history – against what seemed impossible odds. They surprised the Turks by charging cavalry-style, when they would normally have ridden close to an objective then dismounted to fight. The fall of Beersheba swung the battle tide against the Turks in Palestine; and changed the history of the Middle East. While 19 men from the Surf Coast Shire served with the 4th Light Horse over the course of WW1, only four were involved in the charge of Beersheba- John GAYLARD, Philip QUINN.(Winchelsea); Wallace FINDLAY (Anglesea); Harry TRIGG (Bambra). After the war, Light Horse units played a key role in the Australian Government’s compulsory military training programme. The Citizen Military Forces (C.M.F.) thrived on the glamour of the wartime Light Horse tradition, ignoring the possibility that motor vehicles would soon replace the horses. When training was no longer compulsory, the C.M.F. regiments declined and horses became more of a luxury during the 1930s depression years of poverty and unemployment. Some regiments were motorised. Then, in 1939, Australia joined Britain in another world war. Training was increased for the militia at both home bases and regional training camps. The camp at Torquay in 1940, commanded by Major General Rankin, was at Divisional strength. By the end of the camp some felt that the Division was ready for active service. Gradually, over the next four years, the Australian Light Horse units were mounted on wheels and tracks and the horses were retired. Six men enlisted at the Torquay camp and another 57 men and women enlisted at Torquay for service in WW2. Those who served in the Militia provided valuable Officers and NCOs and men for the armed services during the war. Each infantry division of the 2nd AIF had a Light Horse regiment attached to it. But the day of the Australian mounted soldier hadn’t quite passed. During World War II, Australia’s 6th Cavalry Regiment formed a mounted unit they called “The Kelly Gang” which did valuable scouting work. In New Guinea, a mounted Light Horse Troop did patrol duty and helped carry supplies. Some fully equipped walers were flown into Borneo for reconnaissance in rugged mountain country. But by the end of the war, in 1945, the horse had disappeared from the Australian Army. References: Australian Light Horse Association www.lighthorse.org.au National Australia Archives Australian War Memorial Surf Coast Shire WW1 memorials www.togethertheyserved.com The Light horse- a Cavalry under Canvas Light Horse, Training Camp, Torquay, WW2 Late in 1939 it was decided to set up a Lighthorse training camp in Torquay to train both men and horses for the battles of the Second World War. Horses, men and equipment came on special trains from all over Victoria and NSW, and as you would expect horseman came from areas such as Omeo and Sale, the Wimmera and the Western District. They arrived at the Geelong racecourse for watering in the Barwon River and then were ridden across the ford at the breakwater and began their 11 mile trek to Torquay. Light Horse, Training Camp, Torquay, WW2 Tent city By the end of January 1940 the camp at Torquay accommodated some 5000 men and 2500 horses of the Second Cavalry Division. The rows of horses, tents and huts near Blackgate Road were quite a sight. While the cavalrymen engaged in exercises on the land and on the beaches, many of the troops took over the Torquay School for special training of men and officers. Mr Bob Pettit local farmer and Councillor for the Barrabool Shire, wrote about the Light horse in the Surf Coast Community News in 1985 saying “They used to travel about the district riding four abreast in one long convoy. To my annoyance they went through my property and shut all the gates behind them. I had certain gates open to let stock in to the water holes and it would take me three -quarters of an hour to follow the horsemen up and put all the gates right again” he continued “the men from the Light Horse were here when the fire went through in March 1940. He recalled an incident when early one morning, as some one blew the bugle, a soldier putting a white sheet on the line frightened the horses. They panicked and ran off in all directions. Six went over the cliff near Bird Rock, five were never found, and the rest were gathered up after nearly a fortnight in the bush around Addiscott and Anglesea" Light Horse, Training Camp, Torquay, WW2, Geelong Parade Geelong parade The training camp culminated in a parade through the streets of Geelong on March 12th 1940. The salute was given at the Town Hall and the troops continued on a route to the You Yang’s for a training exercise. Note-----(see media section for photograph) The Camp was abandoned in mid 1940 as it was deemed unsuitable for training during winter and the cost of a permanent camp could not be justified if it could not be used all year. Historic.......Rare,,,Interpretive.Sepia photographs.set of four ....post card size ....Horses &LighthorsemenNo 1, Lighthorsemen Regiment Geelong 1940......No 2 Light Horse at Breakwater Geelong 1938 to 1940....No 3 Light Horse at Breakwater Geelong 1938 to 1940.....No 4 Light Horse crossing Breakwater camped at Geelong Showgrounds. These markings are on reverse of photographs.light horsemengeelong 1940., world war 2

Castlemaine State Festival, Castlemaine. 2 November 1990. Programme. From the Chairmen - Mr Bereck Segan. Melbourne Committee: B R Segan, O.B.E. (Chairman), M Besen, A.O. (Deputy Chairman), Mrs H Dore (Hon. Sec.), C Anzarut, N Bourke, Ms M Coillet, Prof. C Duckworth, G Fairfax, A.M., K MacKenzie-Forbes, A.M., Mrs B Margetts, Dr F R Moulds, I.S.O., R Nordlinger, J Parker, M.B.E., A Porter, Ms M Prendergast, C Pyett, Ms D Reilly, Mrs, Ms L Schiftan, P M Schiftan, D Segan, B J Stewart, Ms S Walker, Dr R Wlikie. Melbourne Committee: I O'Halloran, (Chairman), Mrs M Rilen (Hon.Sec.), Miss R Wood (Treas), Mrs L Bennet, Mrs M Bock, S Cox, Cr T Daniell, Mrs H Griffiths, B Heydon, N Jennings, Mrs C McKellar, Miss M Oliver, L O'Toole, F Ransome-Smith, J Shortal, Dr D Silver, Mrs V Victor-Gordon, Mes E Warren, Miss L Waters. Welcome to the 1990 Castlemaine State Festival. As one festival closes, planning for the next commences immediately.. . Mr Ian O'Halloran, Chairman, Castlemaine. Castlemaine State Festival Administration, Festival Manager: Phee Broadway, Manager's Assistant: Mary Harris, Technical Manager: Lis Pain, Drawing Prize Co-ordinator: Bev Singleton, Farnham Concert Co-Ordinator: Noel Jennings with Victorian Rock Foundation. Event Listings: Opening by Hon. Jim Kennan M.P., Deputy Premier and Minister for the Arts Castlemaine Stadium. Melbourne Symphony Orchestra, Conductor - Hiroyuki Iwaki, Soloist - Dong -Suk Kang. Royal Variety Club Grand Final Theatre Royal, Town Crier Mr Neville Stonehouse. Kilmna Wildflower Walk. 'Melbourne: Architecture Today and the year 2000' Professor Peter McIntyre, A.O. Wine tasting. Selected Antique Fair. Organ Recital, organist Michael Bottomly. Mickleford Tour. A Closer Look at Castlemaine, Castlemaine Historical Society. 'Local Brew' Love Letters by A R Gurney, Starring Julia Blake and Terry Norris Directed by George Fairfax A.M. The Noel Watson Show. John Pringle and Miriam Gormley sing Operatic Gems with the Rantos Collegium and conductor Nicholas Braithwaite. The Incredible Shrinking Mortgage Show', Pat Wilson and Adrian Barnes. Festival Nightcap, Mr P P an acrobatic delight. Breakfast with Potts in the Park. A Stroll Around Town, Historical Society guide. Gardens Open. Selected Antique Fair. Festive Family Fun, musician Natasha Moszenin, Fratellini Brothers, Tim Hurley, Wally Fair Ground Organ, Foundry Band, Megan Jones, Mr P P. A guided Tour, Mrs Marjorie Rilen. Goetz Richter - Violin, Jeanett Carrigan - Piano. 'King Lear', Berenice Kavanagh and Suzanne Kersten. The Chagell Ensemble, Rita Reichman, Piano, Semmy Stalhammer, Violin. Trevor Jones, Viola. David Pereira, Cello. Steven Reeves, Double Bass. 'The Incredible Shrinking Mortagage Show' Pat Wilson and Adrian Barnes. Festival Hymns. 'Recital' Hellen Noonan, Douglas Horton, David Chesworth, Jacqui Everett, Jude Gunson. Music for Flute and Piano, Dereck Jones - Flute, Jeanell Carrigan - Piano. 'Brass With Class' William Evans - trumpet, David Farrend - trumpet, Russell Davis - french horn, Ken McClimont - trombone, Eric Klay - bass trombone. Piano Recital - Richard Mapp. Chris Ludwick's Society Synocopators - Cup Eve Cabaret, Chris Ludowyk - trombone, Peter Gaudion- Trumpet, Richard Miller - reeds, Pip Avent - tuba, Cal Duffy's - drums. 'Cup Eve Comedy' Rachel Berger and Richard Stubbs. Festival Nightcap Mr P P. Botanical Gardens Tour Kevin Walsh. Alice's Adventures in Wonderland Glenn Elston. By arrangement with Feipp and Park Projects and Elston, Hocking and Woods Pty Ltd. Family Concert, Piano for 4 hands Jocelyn Abbott and Richard Mapp, actor Justin Shortal. Cup Day Sports Carnival. Fashion Parade, luncheon available at Georgians in George Clark Place. The Melba Trio, Carolyn Hayes - Oboe, Jane Stacvy - cor anglais, Seng Tong - Oboe. 'Images' Prudence Davis - flute, Jeffrey Crellin - oboe, Peter Lynch - guitar. 'Sounds in Time' Andree Cozens - soprano, Berenice Kavanagh - words, Dudley - Simons - piano, John Snowden - Guitar, Peter Taylor - Set design & lighting. 'Music for Celestial Voices' Laurence - Jenkins - organ, Mary Anderson - harp, Margot Anderson - harp, Margot Cory - soprano. 'Proms for Preps' Nehama Patkin. Organ Recital Keeith Bottomley. Kaweka Walk, Kaweka Reserve Committee. 'Camille Claudel'. The Tudor Choristers Musical Director - John O'Donnell. 'Something for Everyone' Nehama Patkin - piano, guitar and voice, Peter Clinch - saxaphone and clarinet, major Australian Orchastras. 'The Dock Brief' & 'What Shall We Tell Caroline' Neville Stonehouse, Kay Barker, David Bickart, Angela Walter. 'Bluebeard' The Rag & Bone Theatre Company. Poedijono and the Javanese Gamelan, Poedijono (Teacher), musician, dancer and puppeteer. Botanical Gardens Tour, Kevin Walsh, horticulturist and garden writer. 'Music through the Ages' 'Pizzicato' - classical guitar ensemble, Castlemaine Courthouse, Bruce Millar, Meryl Wilkinson, Greg Wilkinson, Greg James, Joan Maher, Danny Silver. Bach and Vivaldi - Elysium Ensemble Greg Dikmans - Art Director, flute & recorder, Julie Hewison - violin, Lucinda Moon - violin, Janet Ferandez - viola, Miriam Morris - cello, Rosemanry Westbrook - double bass, John O'Donnell - harpsichord. 'Handle by Candle' Laurence Jenkins. Sarah Grunstein at the Piano, Sarah Grunstein. 'Let the Children Sing' Castlemaine Children's Choir, director Michael Bottomley, soloist Peter Bottomley. 'Made in Australia' Phillip Day, Bruce Waston, & 'Twankydillo'. The Dancers Company of the Australian Ballet, Les Sylphides, Dame Peggy van Praagh, Sir John Betjeman, Robert Ray. 'The Wooden Child' Handspan Theatre, Douglass Horton, Ken Evans, Andre Greenwell, Peter J Wilson, Philip Lethean. Botanic Gardens Tour Kevin Walsh. Divine Accidents and Heavenly Venues' William (Bill) Akers, A.M., Director of Productions, Australian Ballet. Jazz at the Jail. Another Stroll round Castlemaine, Historical Society. Muckleford Tour, Naturalists Club. 'Sketches' The Argus Guitar Quartet, Jochen Sxhubert, Tania Ravbar, Samantha Tout, Chi Ly.Scores for Instruments and Voices, Phylis Bachelor. Fred Shade, flute; Mara Miller, Violin; Len Vorster, piano; Loris Synan, soprano; and the students of the Faculty of Music, Melbourne University. Music for Four Hands at One Keyboard, Jocelyn Abbot and Richard Mapp. Paul Grabowsky and the Groovematics, Paul Graboesky, piano. Andrew Gander, Drums. Doug de Vries, guitar. Bob Venier, Trumpet, Flugelhorn. Ian Chaplin, saxophone. Garry Costello, double bass. Shelley Scown, vocals. 'My Most Loved Songs' David Bickart - Basso. Chapliapin, McEachern, Pinza, Robeson, Dawson. A Stroll Around Town, Historical Society. Breakfast at Buda. Garden Open. Festival Eucharist, choir and orchestra Directed by Kevin Bottomley. Music, Madness, Magic. Itchy Feet Pep Band, 'Sound Steppers', 'Legs on the Wall', Andrew Elliot, Antebodies. A Guided Tour of Angligan Parish Church. John Farnham in Concert, The Chain Reaction Tour. John Farnham. Exhibitions: Aspects of France: The Australian Artist's View. Artsits include John Russell, Lloyd Rees, David Davies, John Dent, Eric Wilson, E Phillips Fox, Ethal Carrick, Rupert Bunny, Max Meldrum, Will Ashton, George Bell and others. Annemieke Mein: Embroidery and Applique. Castlemaine Artists Incorporated 6th Biennial Exhibition. Dominique Segan Castlemaine State Festival Drawing Prize 1990. 'Provocative Pieces'. 'Feathered Friends' Barbara Muir. Through the Looking Glass. Handmade - For Pleasure, Julie Cook - dolls and puppets; Traude Beilharz - hats; Gwen Cook - embroidery; Erika Beilharz - woven pieces. 'High Art' students of Castlemaine. 'Works in Wood' Laurie Vella. Old Telegraph Station, Pioneers and Old Residents Association, Jubilee booklet on sale. Studio Exhibition, Juliana Hilton: Prints, paintings decorated screens and furniture. Val Restarick: Pottery and outdoor planters. 2nd Biennial Ernest Leviny Commemorative Silver Exhibition, leading contemporary silversmiths; Hendrick Foster, Tony Kean, Mike Wilson, Flynn Bros, Andrew Last, Mark Edgoose, Peter Gerter, Beatrice Schlabowsly, Marian Hoskings, Karyn Kirby, Chris Sherwin, Peter McBride, Fran Allison. Ray Stanyer - Ceramic Paintings. Norman Anderson - Water Colour Studies. 'Australian & Baroque' David Terry. 'Mediterranean Images' Val Restarick. Framing Shop, Brian Harding. Exhibition of Women Artists, Liz Caffin, Mary Quinlton, Debra Watkins, Lorraine Le Plastrier. Maine Images, Jacki Bickart, Valarie Blake, Sue Breeney, Kate Burtchell, Janet Chapman, Diana Davidson, Betty Hall, Deidre Hull, Molly Maddox, Norma McKenzie, Beth Oag, Rhyll Plant, Michell Phillipson, Diane Thompson. Ceramics, Ian Drumond. 'The Esplanade of Palms' (Brickworks Exhibition), John Wilkins. Han Built Pottery, George Butcher. Hollis Gallery, Richard Hollis, Kathy Hollis. 'End of an Era', Castlemaine Technical College Student Exhibition. 'Building A Country', Commissioned by the Latrobe Library, the Australian State Library of Victoria. The Festival Exhibition. 'Colour - Three Way's, Alice Clague, Geoffrey Clague, Howard Tozer. Tonal Oil Painters and Tapestry Exhibition by a group of local artists, Albert Pollard, Shirley Anderson, Valerie Blake, Ivy Brown, Marjorie Byrne, Janet Chapman, Frances Cree, Colleen Hall, Loretta Harris, Phyllis McClure, Lorraine McDowell, Norma McLean, Margaret Maher, Winsome Morrat, Jean Perry, Martha Phillips, Alison Ross, Norma Sneddon, Val Story, Irene Szabo, Jean Wells, and Alan Winzor. Roma Dodson.'BarleyTwist Cottage', Bill Davies, Linda Long, Fred Kuhnl. Photography Exhibition: Faces and Souls. Children's Books and Illustrations, Meet the authors and illustrators. Burnett Gallery and Garden, Drew Lawson, photographer of Eaglehawk. Decorated Cakes & Sugar Craft Exhibition, Barbara Porter. Sponsored by Marong Hotel. The Central Victorian Unique Design & Restoration Centre, historical photographs, sketches, etc. Badger's Keep Nursery & Mr Badger's Shop, Margaret Lees, Bill Jackson. Carriage Builders & Restorers. 'Harmonious Inspirations X Four' Kristina Browning, Catherine Tait, Rod Pitt, Lindy McAboy, Castle Mice by Sonia. Historic Cottage, 'Orvil Dean Stud', John and Anne Murdock, Judy Dean. The Heritage of Maldon, Geoffery Stocks. Stanyer's Pottery, Dragon Magic, Annett Annand, Ellan Hansa. 2(two) copies of this program.event, entertainment, castemaine state festival, castlemaine state festival, castlemaine 1990. programme. chairmen - mr bereck segan. committee:b r segan, o.b.e. (chairman), m besen, a.o. (deputy chairman), mrs h dore (hon. sec.), c anzarut, n bourke, ms m coillet, prof. c duckworth, g fairfax, a.m., k mackenzie-forbes, a.m., mrs b margetts, dr f r moulds, i.s.o., r nordlinger, j parker, m.b.e., a porter, ms m prendergast, c pyett, ms d reilly, mrs, ms l schiftan, p m schiftan, d segan, b j stewart, ms s walker, dr r wlikie. melbourne committee: i o'halloran, (chairman), mrs m rilen (hon.sec.), miss r wood (treas), mrs l bennet, mrs m bock, s cox, cr t daniell, mrs h griffiths, b heydon, n jennings, mrs c mckellar, miss m oliver, l o'toole, f ransome-smith, j shortal, dr d silver, mrs v victor-gordon, mes e warren, miss l waters. mr ian o'halloran, chairman, castlemaine. castlemaine state festival administration, festival manager: phee broadway, manager's assistant: mary harris, technical manager: lis pain, drawing prize co-ordinator: bev singleton, farnham concert co-ordinator: noel jennings with victorian rock foundation. event listings: opening by hon. jim kennan m.p., deputy premier and minister for the arts castlemaine stadium. melbourne symphony orchestra, condustor - hiroyuki iwaki, soloist - dong -suk kang. royal variety club grand final theatre royal, town crier mr neville stonehouse. kilmna 'melbourne: professor peter mcintyre, a.o. organist michael bottomly. mickleford tour. castlemaine historical society. love letters by a r gurney, starring julia blake terry norris directed by george fairfax a.m. the noel watson show.john pringle and miriam gormley operatic rantos collegium and conductor nicholas braithwaite. the incredible shrinking mortgage show', pat wilson and adrian barnes., mr p p an acrobatic delight. potts in the park. a stroll around town, historical society guide. selected antique fair. festive family fun, musician natasha moszenin, fratellini brothers, tim hurley, wally fair ground organ, foundry band, megan jones, . a guided tour, mrs marjorie rilen. goetz richter - violin, jeanell carrigan - piano. 'king lear', berenice kavanagh and suzanne kersten. the chagell ensemble, rita reichman, piano, semmy stalhammer, violin. trevor jones, viola. david pereira, cello.steven reeves, double bass. pat wilson and adrian barnes. festival hymns. 'recital' hellen noonan, douglas horton, david chesworth, jacqui everett, jude gunson. music for flute and piano, dereck jones - flute, jeanell carrigan - piano. 'brass with class' william evans - trumpet, david farrend - trumpet, russell davis - french horn, ken mcclimont - trombone, eric klay - bass trombone. piano recital - richard mapp. chris ludwick's society synocopators - cabaret, chris ludowyk - trombone, peter gaudion- trumpet, richard miller - reeds, pip avent - tuba, cal duffy's - drums. 'cup eve comedy' rachel berger and richard stubbs. festival nightcap mr p p. botanicla gardens tour kevin walsh. alice's adventures in wonderland glenn elston. by arrangemnent with feipp and park projects and elston, hocking and woods pty ltd. family concert, piano for 4 hands jocelyn abbott richard mapp, actor justin shortal. cup day sports carnival. fashion parade, lucheon available ar georgians in george clark place. the melba trio, carolyn hayes - oboe, jane stacvy - cor anglais, seng tong - oboe. 'images' prudence davis - flute, jeffrey crellin - oboe, peter lynch - guitar. 'sounds in time' andree cozens - soprano, berenice kavanagh - words, dudley - simons - piano, john snowden - guitar, peter taylor - set design & lighting. 'music for celestial voices' laurence - jenkins - organ, mary anderson - harp, margot anderson - harp, margot cory - soprano. 'proms for preps' nehama patkin. organ recital keeith bottomley. kaweka walk, kaweka reserve committee. 'camille claudel'. the tudor choristers musical director - john o'donnell. 'something for everyone' nehama patkin - piano, guitar and voice, peter clinch - saxophone and clarinet, major australian orchastras.'the dock brief' & 'what shall we tell caroline' neville stonehouse, kay barker, david bickart, angela walter. 'bluebeard' the rag & bone theatre company. poedijono and the javanese gamelan, poedijono (teacher), musician, dancer and puppeteer. botanical gardens tour, kevin walsh, horticulturist and garden writer. 'music through the ages' 'pizzicato' - classical guitar ensemble, courthouse, bruce millar, meryl wilkinson, greg wilkinson, greg james, joan maher, danny silver. bach and vivaldi - elysium ensemble greg dikmans - art director, flute & recorder, julie hewison - violin, lucinda moon - violin, janet ferandez - viola, miriam morris - cello, rosemanry westbrook - double bass, john o'donnell - harpsichord. 'handle by candle' laurence jenkins. sarah grunstein at the piano, sarah grunstein. 'let the children sing' castlemaine children's choir, director michael bottomley, soloist peter bottomley. 'made in australia' phillip day, bruce waston, & 'twankydillo'. the dancers company of the australian ballet, les sylphides, dame peggy van praagh, sir john betjeman, robert ray. 'the wooden child' handspan theatre, douglass horton, ken evans, andre greenwell, peter j wilson, philip lethlean. botanic gardens tour kevin walsh. divine accidents and heavenly venues' william (bill) akers, a.m., director of productions, australian ballet. jazz at the jail. stroll round castlemaine, historical society. muckleford tour, naturalists club. 'sketches' the argus guitar quartet, jochen sxhubert, tania ravbar, samantha tout, chi ly.scores for instruments and voices, phylis bachelor. fred shade, flute; mara miller, violin; len vorster, piano; loris synan, soprano; students of the faculty of music, melbourne university. music for four hands at one keyboard, jocelyn abbot and richard mapp. paul grabowsky and the groovematics, paul graboesky, piano. andrew gander, drums. doug de vries, guitar. bob venier, trumpet, flugelhorn. ian chaplin, saxophone. garry costello, double bass. shelley scown, vocals. 'my most loved songs' david bickart - basso. chapliapin, mceachern, pinza, robeson, dawson. stroll around town, historical society. breakfast at buda. garden open. festival eucharist, choir and orchestra directed by kevin bottomley. music, madness, magic. itchy feet pep band, 'sound steppers', 'legs on the wall', andrew elliot, antebodies. a guided tour of angligan parish church. john farnham in concert. exhibitions: aspects of france: the australian artist's view. artsits include john russell, lloyd rees, david davies, john dent, eric wilson, e phillips fox, ethal carrick, rupert bunny, max meldrum, will ashton, george bell and others. annemieke mein: embroidery and applique. castlemaine artists incorportated 6th biennieal exibition. dominique segan castlemaine state festival drawing prize 1990. 'provocative pieces'.'feathered friends' barbara muir. through the looking glass. handmade - for pleasure, julie cook - dolls and puppets; traude beilharz - hats; gwen cook - embroidery; erika beilharz - woven pieces. 'high art' students of castlemaine. 'works in wood' laurie vella. old telegraph station, pioneers and old residents association, jubilee booklet on sale. studio exhibition, juliana hilton: prints, paintings decorated screens and furniture. val restarick: pottery and outdoor planters. 2nd biennial ernest leviny commemorative silver exhibition, leading contemporary silversmiths; hendrick foster, tony kean, mike wilson, flynn bros, andrew last, mark edgoose, peter gerter, beatrice schlabowsly, marian hoskings, karyn kirby, chris sherwin, peter mcbride, fran allison. ray stanyer - ceramic paintings. norman anderson - water colour studies. 'australian & baroque' david terry. 'mediterranean images' val restarick. framing shop, brian harding. exhibition of women artists, liz caffin, mary quinlton, debra watkins, lorraine le plastrier. maine images, jacki bickart, valarie blake, sue breeney, kate burtchell, janet chapman, diana davidson, betty hall, deidre hull, molly maddox, norma mckenzie, beth oag, rhyll plant, michell phillipson, diane thompson. ceramics, ian drumond. 'the esplanade of palms' (brickworks exhibition), john wilkins.han built pottery, george butcher. hollis gallery, richard hollis, kathy hollis. 'end of an era', castlemaine technical college student exhibition. 'building a country', commissioned by the latrobe library, the australian state library of victoria. the festival exhibition. 'colour - three way's, alice clague, geoffery clague, howard tozer. tonal oil painters and taperstry exhibition by a group of local artists, albert pollard, shirley anderson, valerie blake, ivy brown, marjorie byrne, janet chapman, frances cree, colleen hall, loretta harris, phyllis mcclure, lorraine mcdowell, norma mclean, margaret maher, winsome morrat, jean perry, martha phillips, alison ross, norma sneddon, val story, irene szabo, jean wells, and alan winzor. roma dodson.'barleytwist cottage', bill davies, linda long, fred kuhnl. photogralhy exhibition: faces and souls. children's books and illustrations, meet the authors and illustrators. burnett gallery and garden, drew lawson, photographer of eaglehawk. decorated cakes & sugar craft exhibition, barbara porter. sponsored by marong hotel. the central victorian unique design & restoration centre, historical photographs, sketches, etc. badger's keep nursery & mr badger's shop, margaret lees, bill jackson. carriage builders & restorers. 'harmonious inspirations x four' kristina browning, catherine tait, rod pitt, lindy mcaboy, castle mice by sonia. historic cottage, 'orvil dean stud', john and anne murdock, judy dean. the heritage of maldon, geoffery stocks. stanyer's pottery, dragon magic, annett annand, ellan hansa.

The title of the Regiment includes that of HRH The Prince of Wales and the Regimental badge incorporates the three feathers and motto (Ich Dien) of his crest. This book provides a history of the 21 Princes of Wales from the Black Prince of Battle of Crecy fame to Charles. Hardcover book depicting Prince of Wales insignia on dustcover written about the first 21 Princes of WalesISBN 0 7182 5890 8prince of wales, british history, wynford vaughan thomas, ich dien, prince of wales, british history, wynford vaughan thomas, ich dien

This animal heart has been placed in preserving fluid. This can be formaldehyde, isopropyl or ethanol. It is important that glass jars are used, as plastic will be affected by the chemicals over time in the preserving fluid. Note the glass lid. It is not known how long the heart has been in this jar, but it is remarkably well preserved.The use of such preserved specimens is widespread in teaching students of all ages, veterinary operatives and museums of the composition of certain animals, insects and birds. Any information about an animal — be it photographs, blood, feathers or fur samples — is better than no information at all. But specimens are vital to ground-truth.Jar clear glass with taped metal screw top lid & preserving fluid containing a heartNoneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, heart

This lamb fetus has been placed in preserving fluid. This can be formaldehyde, isopropyl or ethanol. It is important that glass jars are used, as plastic will be affected by the chemicals over time in the preserving fluid. Note the glass lid and the rubber seal; also the plastic covered metal clasp that has no contact with the contents. It is not known how long the lamb has been in this jar, but it is remarkably well preserved with just a little film of scum on parts on the top of the interior of the jar.The use of such preserved specimens is widespread in teaching students of all ages, veterinary operatives and museums of the composition of certain animals, insects and birds. Any information about an animal — be it photographs, blood, feathers or fur samples — is better than no information at all. But specimens are vital to ground-truth.Large glass jar containing a lamb fetus in preserving fluid. Glass lid is secured with rubber seal and metal fastening. flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, lamb, fetus, lamb fetus, animal specimen, biological specimen

world war, world war 1, lighthorse, creswick lighthorse, emu, emu plume, emu feathers, slouch hat

Edo periodstill life, tea ceremony, seal, puppy, feather

Coles Fossey (Coles Myer Ltd) to lease new office complex on old Blue Moon coolstore site. The largest office lease ever in Blackburn.Coles Fossey (Coles Myer Ltd) to lease new office complex on old Blue Moon coolstore site. The largest office lease ever in Blackburn.coles myer ltd, railway road, blackburn, blue moon fruit co-operative ltd

exhibition, national gallery of victoria, ngv international, fashion, designer, dress, gown, white, feathered hat

LED light, laser cut metal Located in the entrance to Bayside Gallery, Corner Wilson and Carpenter Streets, Brighton, Victoria 3186.sculpture, public art, installation, feather, neon, lights, peter kennedy, play on words, light as a feather

Photograph of an ornamental adornment on top of a box. The ornament is an emu with a piece of timber across its back acting as a balance beam for two pans supported by chains. "No 3" written below the photograph. A small plaque on t e front reads "Napoli Prescott. Jeweller and Optician. Bendigo"jewellery, feather

Magazinenon-fictionOfficial Magazine of the Australian War Memorialchunuk bair, anzacs in iraq, kiwi's in anzac, malta, middleton vc, thermoplae, kangaroo feathers

p.322.fictionNo summary recordedaustralian fiction, mrs mm phillips