These table spoons are from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. These table spoons are some of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. 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 seven 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 shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register most valuable. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417. 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. Unrestored table spoons from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Some verdigris. Spoons are covered in large amount of concretion. Pieces of rock, glass and shell are embedded in concretion. Large piece of glass visible.10 spoons in group.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, table spoons

These table spoons are from the wreck of the LOCH ARD, a Loch Line ship of 1,693 tons which sailed from Gravesend, London, on 2 March 1878 with 17 passengers and a crew of 36 under Captain George Gibbs. “The intention was to discharge cargo in Melbourne, before returning to London via the Horn with wool and wheat”. Instead, on 1 June 1878, after 90 days at sea, she struck the sandstone cliffs of Mutton Bird Island on the south west coast of Victoria, and sank with the loss of 52 lives and all her cargo. The manifest of the LOCH ARD listed an array of manufactured goods and bulk metals being exported to the Colony of Victoria, with a declared value of £53,700. (202 bills of lading show an actual invoice value of £68, 456, with insurance underwriting to £30,000 of all cargo). Included in the manifest is the item of “Tin hardware & cutlery £7,530”. These table spoons are some of 482 similar items of electro-plated cutlery from the LOCH ARD site, comprising spoons and forks of various sizes but all sharing the same general shape or design and metallic composition. 49 of these pieces display a legible makers’ mark — the initials “W” and “P” placed within a raised diamond outline, which is in turn contained within a sunken crown shape — identifying the manufacturer as William Page & Co of Birmingham. An electroplater’s makers’ marks, unlike sterling silver hallmarks, are not consistent identifiers of quality or date and place of manufacture. A similar line of five impressions was usually made to impress the consumer with an implication of industry standards, but what each one actually signified was not regulated and so they varied according to the whim of the individual foundry. In this case, the maker’s marks are often obscured by sedimentary accretion or removed by corrosion after a century of submersion in the ocean. However sufficient detail has survived to indicate that these samples of electro-plated cutlery probably originated from the same consignment in the LOCH ARD’s cargo. The generally common range of marks are drawn from 255 tea spoons, 125 dessert spoons, and 99 table forks. These marks are clearly visible in 66 instances, while the same sequence of general outlines, or depression shapes, is discernible in another 166 examples. Suggested trade names for William Page & Co’s particular blend of brass plating are ‘roman silver’ or ‘silverite’. This copper alloy polishes to a lustrous gold when new, discolouring to a murky grey with greenish hue when neglected. 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 seven 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 shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register most valuable. The LOCH ARD shipwreck is of State significance – Victorian Heritage Register S 417 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. Unrestored table spoons from the wreck of the LOCH ARD. The spoon design has a flattened fiddle-back handle, with a thin stem or shank, flared collar, and a shallow rounded bowl. The spoons metallic composition is a thin layer of brass alloy which has partially corroded back to a nickel-silver base metal. Some verdigris. Spoons are covered in large amount of concretion. Pieces of rock, glass and shell are embedded in the concretion. 24 spoons approx. in group.flagstaff hill maritime museum, shipwreck coast, great ocean road, loch line, loch ard, mutton bird island, loch ard gorge, electroplated cutlery, loch ard shipwreck, william page and co, birmingham brass plating, table spoons

The website: austinmemories.com provides a list of extracts from the Austin Motor company archive and makes mention that in WW2 some 3,500 lifeboats were provided for ships. In the link above there is also reference to airborne lifeboats. It seems that the Austin 8HP so-called lifeboat motor was very often re-used by boating enthusiasts which would account for the publication or e-issue? of this manual in 1986. It seems likely that this temperamental engine was still of interest to people like ship's engineers.Mariner Duncan had a particular regard for the Mission to Seafarers. This plate for display on a commissioned new table at the MTSV chapel acknowledges his bequest and the material donated. Collectively the G W Duncan material includes: photographs, professional data memorabilia and written and commercially printed resources. The memorabilia relates to his career at sea and in particular the role of an engineer, including a handwritten manual of notes and references relating to the mechanical and engineering aspects and areas of responsibility for maintenance. Commercially printed well handled small handbook or manual with rounded corners; for an Austin 8 HP engine for a lifeboat.see image for front cover mariner manuals, lifeboats, manual, motors, austin, george winfield duncan (1922-2017), ship engineer, s.s. athenic

Set of three cotton doilies, possibly hand made in the 1950s for domestic use. Doilies like this were used to protect furniture from scratches and for ornamental use.3 round doilies (small ornamental mats), cream cotton fabric centre with hand crochet design.doilies, soft furnishings, table linens

Set of three cotton doilies, possibly hand made in the 1950s for domestic use. Doilies like this were used to protect furniture from scratches and for ornamental use.3 round doilies (small ornamental mats), cream cotton fabric centre with hand crochet design.doilies, soft furnishings, table linens

This postcard shows a display of posters and educational materials relating to health education taught at the Pathfinder school, created by local professional Mary NormanBail. This is one of a collection of several hundred photos, books, documents and teaching aids donated to Langi Morgala Museum by Jessica Norman-Bail (or by her estate). Almost all the collection relates to Jessica's mother, the photographer, artist and educator Mary Norman-Bail, and to Mary Norman-Bail's Pathfinder School, which was located in Ararat for several years in the first half of the twentieth century. Black & white postcard featuring a display of health education teaching materials. The display is on a cloth covered table. The rear of the postcard is handwritten text. "This is some of the / work that brought / credit and honour / to the school. / Through the Australian / Boradcasting / Commission. / You cannot see the / books very well / but they are beautifully / illustrated and are / at present being / sent round the schools / in Japan. / M.Norman Bail / S.A.P.F. / Ararat Vic." pathfinder, normanbail, health education

This large bean slicer was first manufactured in the late 1800's in England and exported to Australia. Due to the transportation costs it was not used in many Domestic kitchens. This slicer would have been in a kitchen of a higher socio/economic family within the Kiewa Valley. In the 1930's the manufacturer traded this slicer as "domestic labour-saving slicers". This was the beginning of new generation of the kitchen "gadget". The introduction of the Asian "gadget" manufacturer from the late 1950's saw English export diminish by the cheaper Asian products.This item has great significance because it demonstrates that even "remote rural" locations, such as the Kiewa Valley in the early 1900s still were able to optain "state of the art" labour saving "kitchen" appliances. It was these English and European goods that were made "to last" which brought the mind set "British is best" This mindset was only altered by periods of Australian economic down turns and the cheap Asian product availabilityThis bean slicer is made from cast iron with a round body housing three rotating blades screwed into a riveted spinning base plate. The whole body of this slicer is green with a "natural coloured" handle. A "G" clamp is part of the main frame to fasten the slicer onto a table/counter top (when in use). On the side of the handle and along the top plate "SPONG & Co Ltd" and opposite "BEAN SLICER" below this "No 633"domestic kitchen time savers, food processors, bean slicers

This meat mincer was born in a period where hand operated mincing and blending machines were only available for household mincing meats and blending ingredients up to the 1960's. Electrical kitchen based whitegoods were rare in areas where the connection to electricity was intermittent or not at all.This kitchen aid is a very significant item in the Kiewa Valley before suitable electrically operated mincers became available and constant reliable electrical connections were installed. The Kiewa Hydro Electricity Scheme provide the stable supply of electricity which made most of the hand operated mincing machines obsolete. However large mincers for bulk supplies were still required eg. kitchens for SEC workers during the 50's and 60's.This heavy industrial type meat mincer(cast iron) has a top "rounded feeder cup" with a mincer screw blade at the bottom. A winder handle rotates the screw like mechanism to mince and express solid pieces of meat at the other end. There is a clamp below the main structure which permits the fastening of the hand driven mincer to a table or solid ledge. The hand grip of the handle is made from wood and fashioned like a clothes peg.On the rounded feeder bowl "MAJOR" and on the winder handle "A POPE PRODUCT"hand operated meat mincers, meat grinders, kitchen utensils

Possibly belonged to the Locke family.These items are fine examples of crochet work of the 20th century. A round floral cloth doily holder stiffened with light wood or cardboard - 1771.1 .It contains two crocheted bottle covers. 1771.2 is ecru coloured and has a tie, 1771.3 is white and is fringed. 1771.4 is a white, crocheted bookmark with threaded blue ribbon. There are six circular doilies, all crocheted. doilies crochet table-linen

Believed to have come from Tooram where it was used for cheese making. Tooram commenced cheese manufacture in the mid 19th century in a purpose-built bluestone factory beside the homestead. It was initially set up by Pierce and a long article in the Warrnambool Standard describes the factory and its processes. Cheese production continued through changes of ownership until the 1930s when the Uebergangs ceased making cheese on site. The table was auctioned at Panmure and purchased by 'Flapper' Clarke of Panmure who donated it to the museum in 2012.Rectangular wooden table with trough top, two rounded handles at either end and four legs with stays at either end; has been lime washed on the outside.rural industry, agriculture, food technology, dairying, food processing, allansford, tooram, panmure, cheese making, clarke

The 1846 London Directory lists David Bumsted & Co., trading at 86 Lower Thames Street, 35 Bridge Wharf, City Road Basin & 338 Wapping High Street Droitwich, as a salt merchant. The London Gazette had the following announcement dated 30th November 1887 advising his partnership with John Campbell Bumsted, carrying on business at 36, King William-street, in the city of London, as Salt Merchants, is dissolved as and from this date; and that the business will be continued to be carried on by the said John Campbell Bumsted alone.A rare item now sought after by collector of ceramics and significant as a collectors item from the late 19th century.Glazed Container; cream coloured ceramic salt jar, round shaped, Has lion and unicorn emblem and inscription impressed on outside. "D.BUMSTEAD & CO.\ ROYAL BRITISH TABLE SALT \ 86 LOWER THAMES ST \ LONDON"flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ceramic container, salt jar, d. bumstead & co, london salt merchant, food and drink, doulton & co

This book is a mid-20th century updated version of a manual with regulations and instructions for lighthouse staff and the supply of equipment and other goods that are necessary. It includes lists such as protective clothing required, fuel, when to raise a flag at half-mast, how communication must be carried out, the testing of equipment, and other similar information. It also contains templates for the Certificates of Service of various ranks such as Master and Mate. Australia no longer has manned lighthouses although some still have caretakers that report on the weather. The last manned lighthouse was in Tasmania and was de-manned in December 1995.The ultimate purpose of the book was to set down instructions that would be used to carry out life saving procedures, and to avoid shipwrecks. It confirms some earlier methods and updates others. The information within the book is similar to the information referred to by the 19th century and early 20th century lighthouse keepers and staff, and others involved in the preservation of life, such as those published by the Department of Ports and Harbours. The book is a valuable resource to those researching the evolving of maritime history from Colonial Australia to the modern day.Book, orange vinyl surface sealed cover on hard covered ring-binder. Gold embossed title on spine and front cover. Contains cream loose-leaf pages with rounded corners. Pages are printed with text, tables and diagrams, and are numbered with serial page and paragraph numbers. There is a Table of Contents and an Index. The cover displays the Coat of Arms of the Commonwealth of Australia. Published by the Commonwealth of Australia in 1968 for the Department of Shipping and Transport, the book contains the Standing Orders to Masters and Crews of Lighthouse Tenders. It has examples for Certificates of Service for various ranks, a list of books and forms, protective clothing, rates for passengers, and a Scheme of Colour Painting for Lighthouse Tenders.Coat of Arms [Commonwealth of Australia] "COMMONWEALTH OF AUSTRALIA" "DEPARTMENT OF SHIPPING AND TRANSPORT" "STANDING ORDERS / TO / MASTERS AND CREWS OF LIGHTHOUSE TENDERS" "No 1/1968" "No.2/1968"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, shipwrecks, life saving, lifesaving, shiipping and transport, commonwealth of australia, standing orders, lighthouse crew, lighthouse tenders, masters and crews, 1968

This cake stand was hand turned from osage orange wood. The wood was sourced from a grove of osage orange trees in the Fisken/Taverner Street area. This grove was planted by Mr A C Simon, an orchardist, who brought the seeds from North America in the 1860's to create a protective hedge for his plants The wood from these plants produces a beautiful toned affect of dark brown and yellow/orange when turned and polished. The significance of this cake stand is that it has been carved from the osage orange which grows well in Bacchus Marsh although originated in America. Mr Simon made many items from this wood. This gives it local significance.This polished wooden stand would have been used for cake to be displayed It consists of a round 'plate' of wood as the top, with a fine narrow turned wood pedestal and a round base. The stand is made of osage orange giving it the unique tones of dark brown and orange wood.turned wood, osage orange, food stand, food display, brown orange wood, wooden, cake stand, parlour item, table centre piece, polished wood, ornamental stand

Dressing tables have been around since the beginning of the seventeenth century. However, it wasn't until the early to mid-20th century that middle-class homes included them in their furniture. They were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery trinket boxes, trays and pin bowls or pin trays. The latter were small shallow containers used for storing hat pins, hair pins, safety pins, and perhaps earrings. They were made of various materials including glass, metal and ceramic.This pin bowl represents an era in the early-to-mid 20th century when matching dressing table accessories were popular and affordable to middle-class women. They were marketed as gifts and sometimes included perfumed soap and powder.Pin dish, round, cut glass, slightly convex sides without a pattern. Thick heavy, concave base with a concertina fold pattern.flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table, dressing table tray, glass tray, pin tray, pin bowl, dressing table accessory

Dressing tables have been around since the beginning of the seventeenth century. However, it wasn't until the early to mid-20th century that middle-class homes included them in their furniture. They were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery trinket boxes, trays and pin bowls or pin trays. The latter were small shallow containers used for storing hat pins, hair pins, safety pins, and perhaps earrings. They were made of various materials including glass, metal and ceramic.This pin bowl represents an era in the early-to-mid 20th century when matching dressing table accessories were popular and affordable to middle-class women. They were marketed as gifts and sometimes included perfumed soap and powder.Pin bowl; a light weight, round bowl with straight sides featuring a cut glass pattern, and a flat base with a star design.flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table, dressing table tray, glass tray, pin tray, pin bowl, dressing table accessory

Field Marshal Viscount Kitchener of Great Britain was invited by Prime Minister Deakin in 1909 to visit Australia and advise on the best way to provide Australia with a land defence. Kitchener’s report echoed the bill, introduced to Parliament in 1909 and supported by the Opposition Labor Party at its 1908 conference, to introduce compulsory military training in peace time (referred to as universal training). On 1 January 1911, the Commonwealth Defence Act 1911 (Cth) was passed as law and all males aged 12 to 26 were required to receive military training. Men were divided according to age, with junior cadets comprising boys 12-14 years of age, senior cadets comprising boys 14-18, and young men aged 18-26 assigned to the home militia defence. The support of schools was vital to the success of the scheme, since the system of cadet training began in the primary schools, with physical training prescribed by military authorities. Junior cadet training was entirely in the hands of school teachers, who had first been trained by military officers. This early training was less military in nature than focused on physical drill and sport. It also acted to inculcate boys with the notions of loyalty to country and empire. At this age, uniforms were not worn, although there were schools with pre-existing uniformed cadet units, who continued to do so. Senior Cadets were organised by Training Areas, administered by Area Officers. If a school had at least 60 senior cadets, they could form their own units. Unlike their junior counterparts, Senior Cadets were issued uniforms, a rifle, and learned the foundations necessary for service in any arm of the defence forces. Boys and men could be exempted from compulsory training if they lived more than five miles from the nearest training site, or were passed medically unfit. Those who failed to register for training were punished with fines or jail sentences, and the severity of this punishment generated some of the strongest opposition to the scheme. While institutions such as the political parties and most churches generally supported universal training, some in the broader labour movement were less enthusiastic, as evidenced in the Daily Herald newspaper’s editorials and letters. Universal military training persisted after the conclusion of World War 1, with the Junior Cadet scheme the first to go, in 1922. Senior cadets and service with the militia was suspended in November 1929. (http://guides.slsa.sa.gov.au/content.php?pid=575383&sid=4788359, accessed 29/10/2015) According to Neil Leckie, Manager of the Ballarat Ranger Military Museum: * Originally 12 – 14 year olds went to Junior Cadets attached to their school. * From age 14 – 17 they were Senior Cadets attached to the local militia unit. * After 1 July of the year a Cadet turned 18, the Cadet left the Senior Cadets and became a member of the Citizen Military Force. * In October 1918 the AIF, Militia and Cadets were renamed to give some connection to the AIF battalion raised in the area. Ballarat saw: 8th Australian Infantry Regiment comprising: * 8th Battalion AIF renamed 1st Battalion 8th Australian Infantry Regiment * 70th Infantry Militia renamed 2nd Battalion 8th Australian Infantry Regiment * 70th Infantry Cadets renamed 3rd B, 8th Australian Infantry. 39th Australian Infantry Regiment comprising: * 39th Battalion AIF renamed 1st Battalion 39th Australian Regiment * 71st Infantry Militia renamed 2nd Bn, 39th Australian Infantry Regiment * 71st Infantry Cadets renamed 3rd Bn, 39th Australian Infantry Regiment Prior to the reorganisation in 1918 the 18th Brigade was the 70th, 71st and 73rd Infantry. It is thought that the 18th Brigade Cadet units in 1920 were those that came from the old: * 69th Infantry (Geelong/Queenscliff) * 70th Infantry (Ballarat/Colac) * 71st Infantry (Ballarat West) * 72nd Infantry Warrnambool) * 73rd Infantry (NW Vic) The next name change came in 1921!Mounted sepia photograph of 21 young males. They are the Ballarat School of Mines Cadets on a training camp at Lake Learmonth. Back row left to right: Harold Wakeling; ? ; T. Wasley; H. Witter; H.V. Maddison (staff); Lieutenant S.J. Proctor, Joe ? ; ? ; B.C. Burrows. Centre left to right: Howard Beanland; ? ; F.N. Gibbs; H. Siemering; P. Riley; ? : E. Adamthwaite. Front row left to right: Albert E. Williams; Francis Davis (RAAF Dec.); A. Miller; W. Shattock; T. Rees From the Ballarat School of Mines Magazine, 1916 "Our Competition Team, 1916 At a parade, held on the 25th August competition teams were called from from the three colleges - Ballarat College, St Patrick's College, and the School of Mines. In each case, a large muster was obtained, twenty-nine volunteering fro the School of Mines. On account of the number in a team being limited to 21, some had to be weeded out. The team decided to have a camp at Learmonth in the vacation for the benefit of training for the coming competitions. The tents, within our baggage, were brought to the Junior Technical School at 10 a.m. on Monday, 11 September. Everything was carted to the station on a lorry, which was very kindly lent by Mr C. Burrow. ... Arriving at our camp, which was in the Park, we first raised the tents. This was done in record time. Three large tents, A.B.C., were pitched one behind the other. We also pitched a smaller one to act as a provisions tent. The provisions supplied by each cadet were placed in this tent. Dinner was ready by 3.30, and was prepared by the three senior non-coms., who also acted as orderlies. Things went alright Monday night, the two senior non-coms. acting as sentries for the first two hours. On Tuesday morning Reville sounded at 7. There was no need for it, however, as nearly all the cadets were up before daylight, owing to their beds being too hard. After physical exercises were gone through we had breakfast. We then had rifle exercises until Messrs A.W. Steane and F.N. King arrived. The former put the team through the table of physical exercises set down for competition work, many valuable points being obtained. The visitors remained for dinner, afterwards returning to Ballarat. Wednesday was uneventful, until the soldiers arrived at about 11 a.m., stopping at the park for lunch. As we handed over the coppers, etc., to them, our lunch was delayed. Two more visitors arrived after lunch, and after taking a few photos returned home. That night we had a "Sing-a-long" in C Tent until "Lights out" sounded at 9.30. After physical exercises ad breakfast on Thursday, we went for a six mile route march round the lake, doing skirmishing on the way. In the afternoon we practised rifle exercises and the march past. A concert was arranged for that night, the chief singers being cadets H. Siemering and W. Shattock. Supper was served at the end of the entertainment. On Friday, Reveille sounded at 6.30 instead of 7, and, as usual, we had physical exercises before breakfast, after which the team went through skirmishing at the reserve. In the afternoon, section drill and the march past were practised. Friday night, being our last night in camp, leave was granted until 10 p.m., "lights out" sounding at 11. Reveille sounded on Saturday at 4.30, the reason being that all kits, tents, etc., had to be packed away ready to catch the 8.15 train to Balalrat. At 7.30 we were all ready to leave for the station. We had a very enjoyable time in the train, each cadet having a chip in at the patriotic songs. On arriving at Ballarat, we found the lorry awaiting us. The luggage was carted to the Junior Technical School, the team following. The team were here dismissed, everyone feeling that he had had a very good time. F.G. Davis"Written in ink on front 'cadet camp at Lake Learmonth about 1916. Training for South Street Competitions. ballarat school of mines, cadets, ballarat school of mines cadets, lake learmonth, world war one, boomerang, camp, cadet camp, h.g. wakeling, harold wakeling, f.g. davis, albert w. steane, f.n. king, h. siermering, w. shattock, francis davis, harold wakeling, t. wasley, h. witter, h.v. maddison, s.j. proctor, b.c. burrows, howard beanland, f.n. gibbs, h. siemering, p. riley, e. adamthwaite, albert e. williams; francis davis, a. miller, w. shattock, t. rees, photography, foto, boxing gloves

The kerosene lamp is a type of lighting device that uses kerosene as a fuel. Kerosene lamps have a wick or mantle as light source, protected by a glass chimney or globe; lamps may be used on a table, or hand-held lanterns may used for portable lighting. There are three types of kerosene lamp: traditional flat wick, central draught (tubular round wick), and mantle lamp. The screws on the side adjust the flame and hence the strength of the flame produced. Prior to the introduction of gas and electricity these lamps provided lighting in all householdsPioneers and early settlers in Moorabbin Shire relied on kerosene lamps for lighting their homes after sunset.This kerosene, flat wick, banquet lamp has a clear glass shade chimney with a frilled rim, a reservoir of plain yellow glass and a metal engraved base . 1 side screw to adjust the flamelights, early settlers, pioneers, market gardeners, moorabbin, brighton, bentleigh, cheltenham. lamps, kerosene, paraffin, oil

The kerosene lamp is a type of lighting device that uses kerosene as a fuel. Kerosene lamps have a wick or mantle as light source, protected by a glass chimney or globe; lamps may be used on a table, or hand-held lanterns may used for portable lighting. There are three types of kerosene lamp: traditional flat wick, central draught (tubular round wick), and mantle lamp. The side screws adjust the length of the wick and hence the strength of the flame / light produced. Prior to the introduction of gas and electricity these lamps provided light in households after sunset.Prior to the introduction of gas and electricity these lamps provided light after sunset for the early settlers, as they established their farms and businesses, in Moorabbin Shire.A Victorian kerosene banquet lamp, with a gilded metal quad footed base, cranberry glass oil reservoir with geometric patterns, original etched, yellow, glass globe shade and clear glass chimney. There are 2 side screws for adjusting the flame.early settlers. pioneers, follett w, moorabbin, bentleigh, brighton, ormond, market gardeners, kerosene, paraffin, lights, lamps, candles

The kerosene lamp is a type of lighting device that uses kerosene as a fuel. Kerosene lamps have a wick or mantle as light source, protected by a glass chimney or globe; lamps may be used on a table, or hand-held lanterns may used for portable lighting. There are three types of kerosene lamp: traditional flat wick, central draught (tubular round wick), and mantle lamp. The side screws adjust the length of the wick and hence the strength of the flame/light produced. Prior to the introduction of gas and electricity these lamps were used for lighting in all households after sunsetPioneers and early settlers relied on kerosene lamps for lighting their homes after sunset.A 19th Century kerosene chamber lamp, with clear, plain glass shade and reservoir, circular metal base and 1 side screw for adjusting the flameearly settlers, pioneers, market gardeners, moorabbin, brighton, bentleigh, ormond, cheltenham, candles, lights, lamps, kerosene, paraffin, oil

This dressing table with swing mirror was used by the early settler families of Moorabbin Shire c1900. Accompanied by a wash stand , basin and water jug people cleansed, shaved and tidied their hair and themselves between their weekly bath. This Dressing table mirror was owned by a pioneer family of Moorabbin Shire c1900 c1900 Mahogany Toilet / Swing Dressing table mirror A shaped mirror, domed top with thick frame, turned side supports finished with small finials and a solid base on 4 round supportseraly settlers, pioneers, furniture , mirrors, dressing tables, mahogany wood, carpenters, cabinet makers, market gardeners, moorabbin shire, bentleigh, cheltenham

Piece of decorative timber from a washstand/dressing table. Each end is rounded and the top edge has a pointed piece like the end of a leaf offset from the centre. It has been varnished brown. The other piece is a sliver of wood.furniture, domestic, dressing table/washstand, furniture pieces m ballhause

Two decorative pieces from washstand or dressing table. Pieces are shaped and the larger piece has some carving on it. Both have a round piece at the top.furniture, domestic, washstand/dressing table, washstand & dressing table pieces - decorative pieces, m ballhause

Small three quarter portrait of a lady seated on a chair beside a table. She has her right elbow resting on the table and her hand up to her face. She is wearing a skirt with rows of gathers and a high neck jacket with buttons down the front and on the sleeves. She has a brooch at her neckline. She is also wearing gloves. Photo mounted on cream card with rounded corners and brown printing front and back.Stewart & Co., 217 & 219 Bourke St. East, Melbournephotograph, portrait, female, portrait of a lady, stewart & co.

Round brass wall plaque impressed with scene of people around a table drinking and smoking. Ring for hanging attached to back.ornaments, metal, wall

Photos of two houses on a piece of paper. The top photo is a white house with a portico and steps at the front door, a window at each side and a striped blind at the edge of the portico. Decorative brick work at spout level. A concrete path is along the front of the house and leads out to the front and side. A vase with a flower and a statue on the corner of the path. there is a table and chairs beside the house. The garden is very black. The lower photo is a brick house with a door, a tall window that is rounded at the top and three small windows just below the spout line. There are some plants in front of the house and trees around it. parts of the garden are dark.bendigo, history, long gully history group, the long gully history group - two houses

Coloured photograph of two ladies taken in a house. Both are sitting on a couch, one is holding a little brown dog on her lap. She is wearing a purple and aqua dress with a brooch at the neck, a short necklace, gold bracelet and a pearl hair clip. The other lady is wearing a mauve & multi coloured dress, mauve jacket and a wide brimmed mauve hat. On the table in front of them is a large, round glass/crystal vase.photo, group, 2 ladies, foster & wilson collection, photograph

This item was donated as a photograph of Louisa Morrison. Louisa (or Luisa) Rosanna Morrison nee Haag came from an early settler family in the farming community of Wandin. The woman photographed is in her old age. If this is indeed Louisa Morrison, the photograph would date from the early 1940s, since she died in 1946 at the age of 70. However the costume and the style of the photo suggest an earlier date, possibly the early 1900s. This could be Louisa's mother, Emma Martha Haynes, or mother-in-law Margaret (McNeil) Morrison. The woman is shown in a garden, probably because the family were farmers/orchardists. Louisa married Daniel McNeil Morrison, who was nine years her senior , in 1900. They had four children and farmed Morrisons' Orchard in Old Hereford Road, Mt Evelyn. The Morrison home was to become the important community house in Mt Evelyn, Morrison House. Morrison Reserve is part of their land, as was Yarra Hills Secondary College, Mt Evelyn Special Developmental School and the Reserve and Athletics facilities, including a tennis club. In 1981 the land title was changed to the Shire of Lillydale, who purchased the land and established the Morrison House Community House from 1976 (ie before they legally owned the land).This picture is of social significance as it is the only reputed picture of Louisa Morrison nee Haag.Brown round cornered frame with gold colour on inner frame. Painted plaster on frame chipped on top right. Coloured (painted) photograph of seated woman in upholstered chair with large brown cushion behind her. Garden setting. Black floor length dress, high necked, long sleeved. White cap on head. White cloth showing at neck.Bottom right hand corner, signature "F. RAPHAEL". Reverse: four inscriptions, one on each straight side, stamped in ink. Top: "MADE IN / AUSTRALIA". Right side: "THIS MOUNTING IS SPECIALLY DESIGNED AND / SELECTED WORKMANSHIP AND MATERIALS / GUARANTEED". Bottom: Table, 1 row, 2 columns. 1st cell: "STYLE / 1". 2ND CELL: "PRICE / 3 GNS". Left: box with 2 columns, 1 row. Left most column is divided horizontally into two, as is the 2nd column, but at a lower level. This creates four cells. Top left: "STYLE 1". Bottom left "PRICE 2 GNS". Top right: "TO BE SOLD AT PRICE MARKED OPPOSITE ONLY ON CONDITION THAT SAME IS MOUNTED ON ONE OF OUR SAMPLE STUDIES". Bottom left: "EMPIRE ART COMPANY LIMITED".louisa, morrison, haag, morrison house, farming, orchard, mt evelyn, photograph, wandin