J & G Meakin was an English pottery manufacturing company founded in 1851 and based in Hanley, Stoke-on-Trent, Staffordshire. In the 19th century, J & G Meakin was known for the vast quantities of cheap ironstone china it produced for the domestic English market and export to Australia, Canada, New Zealand, and the United States. From around 1970, designs included Liberty, Sterling, Trend, Classic, and Heirloom. Some of these were influenced by earlier designs. The newer wares can be distinguished by back stamp markings such as 'permanent colours', 'everlasting colour', or 'dishwasher proof'. J & G Meakin had close family and corporate affiliations to the potteries Johnson Brothers, and Alfred Meakin Ltd, which explains why many patterns are similar, if not almost the same. There was a takeover by J. & G. Meakin in 1968 of Midwinter Pottery. The firm was then taken over by the Wedgwood Group in 1970. In 2000 production under the Meakin name ceased and their long-established works, Eagle Pottery, was then used for the production of Johnson Bros pottery. Eagle Pottery closed in 2004 when production was transferred abroad; the works were demolished in 2005.Item is significant as it is believed to be an early example of the SOL trademark made between 1913-1925.Ironstone wash jug and bowl set, white, often referred to as a ewer and bowl. Both jug and bowl have matching raised embossing of panels with floral motifs within them.Both items have marks "Ironstone China Reqd SOL 39/4/3 STG Meakin England" Trademark of J & G Meakin with sun emblem .flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, jug china white and basin, jug, jug and basin, jug & bowl, ewer, bowl, ewer & bowl, j and g meakin, ironstone ware, bathing, washing, personal hygiene

Demonstrates aspects of the Ballarat Tramways ticketing system for use with the daily return from Sebastopol (See Reg Item 3494). Printed by ESCo for a specific route.ESCo 4d Check Ticket - on orange colour card. Used as check ticket in exchange for 4d daily return ticket on the return journey - (See Reg Item 3494) between Grenville St and Sebastopol. Printed by J. J. Miller Melb. Printing in black ink. Has been nipped or cancelled. trams, tramways, tickets, check ticket, esco

Photograph of 17 representatives of the Australian Tramway Employees Association Conference in Hobart Tasmania 1929. Many have watch chains with their union badges. Back row - W B Randall SA, M J Stapleton Vic, J M Bergin Vic, A W Banks NSW, Middle row - J H Brown Hobart, E Christie, Vic, G H Bayliss Vic, R Lynch NSW, D Cameron WA, H J Holder Launceston Front row - W A Clementson NSW, A C Warton Vice President, C J Bray Treasurer, J I Abflater Gen President, T Jewell General Secretary, M A McDonald SA, T E Beckman NSW. Photo by J J N Barnett of Hobart. Has a close association with the men list and their union activities.Mounted photograph black and white onto cardboard with names and title printed. Has a coloured image of Madonna on the rear.union, conferences, hobart, atea, tramways

Photograph of 17 representatives of the Australian Tramway Employees Association Conference in Hobart Tasmania 1929. Many have watch chains with their union badges. Back row - W B Randall SA, M J Stapleton Vic, J M Bergin Vic, A W Banks NSW, Middle row - J H Brown Hobart, E Christie, Vic, G H Bayliss Vic, R Lynch NSW, D Cameron WA, H J Holder Launceston Front row - W A Clementson NSW, A C Warton Vice President, C J Bray Treasurer, J I Abflater Gen President, T Jewell General Secretary, M A McDonald SA, T E Beckman NSW. Photo by J J N Barnett of Hobart.Has a close association with the men list and their union activities.Mounted photograph black and white onto cardboard with names and title printed. Title sheet has been glued and is partially loose.tramways, unions, atea, conferences, hobart

Looking south towards Echuca, Victoria Image dated as November 1963 based on same image in Port of Echuca collection (print 19.5 x 24.5cm) On reverse in blue pen:" Photo by: George L. Coop Nov 1963". In red pen top left hand corner"Ch 11, (circled number )1. In pencil circled: "35". In pencil : " J Class. Intro Scotland 1948 early 50s." https://victoriancollections.net.au/items/59deb0d421ea6e12dc488c2fDigital TIFF file Scan of 35mm Ilford FP3 black and white negative transparencyechuca-moama road rail bridge, george coop collection, goods train, j-500, j-class steam locomotive (vulcan foundry)

The owner of this toolbox was J Burden.The toolbox is an example of the equipment used by people in the woodworking trade to store and transport the equipment in an orderly and secure manner. Similar toolboxes are used today but are often made of metal.Box; wooden toolbox marked J Burden. The box has removeable shelves inside with drawers and lid. The box has two rope handles on the ends and has a key lock in front."J Burden"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, j burden, wooden tool box

Black and white photograph. (Photo by Peter Paynes, Ringwood Studios.)Written on back of photograph, "J. Kirby, President, H. & A. Society showing Charles Howitt the Your Garden Shield to be competed for by the shopkeepers for the best window during the Floral Festival in March. 'Mail' 20 February 1958."

In the 19th and early 20th centuries, J. & G. Meakin were important, large-scale producers of good quality, ironstone tableware (‘White Granite’ ware) that met a ready market in the United States, South America, Australia, and other traditional British markets. By the 1890s the company was one of the world’s largest earthenware manufacturers. Although export teaware and tableware was the factory’s staple commodity, Meakin also manufactured toilet ware, kitchen ware and a wide range of fancy earthenware. The company was amongst the first British pottery firms to experiment with modernist designs associated with the art deco period. The Moderne' range was introduced in 1929 consisting of an angular shape decorated design with geometric patterns and often highlighted with silver or gold. This range remained in production through the 1930s. Post 1945 the company introduced the streamlined Studio shape (1953) and Horizon shape (1955) both heavily influenced by the Russell Wright ‘American Modern’ tableware. In 1964 a new Studio shape was released with tall streamlined coffee pots used as the background for many contemporary patterns now associated with the 1950s and 1960s. Designs by Jessie Tate and Eve Midwinter, some originally found on Midwinter shapes, also appear on 1970s Studio ware. The Studio range was one of Meakin’s most successful and continued in production until the late-1970s. The enormous range of floral, geometric, and abstract designs make Studio Ware collectible in its own right. In the 1970s and 1980s as part of the Wedgwood Group Meakin produced contemporary products under the ‘Bull in a China Shop’ and ‘Creative Tableware’ names. ‘Sol’ (c.1912-1963), ‘Studio’ (1953 on) and ‘Royal Staffordshire’ (post 1968) were important J. & G. Meakin Ltd trade names. Meakin marks are numerous, but all include the J. & G. Meakin name. The significance of this item and pottery generally is that often earthenware is portrayed as being a landmark in the evolution of humanity. This is because these items are the few things from the past that have survived in a tangible form. Pottery is an important functional part of society and it has a critical role to play as it helps archaeologists to date other artefacts of the same time period. Also, the decorations on pottery have told much about the beliefs, lifestyles and lives of the people who bought them and used them. In other words it gives us today a snapshot of society from the past and how people used these items in their daily lives, their likes as well as societal and design trends. Earthenware white glazed ironstoneJ & G Meakin Hanley England stamped to base, with white flora designwarrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pottery, earthenware, iron stone, alfred meakin, james meakin, george meakin, earthenware manufactures, chamber pot

Twenty page book including card covers titled "Australia's First Electric Tram" written by John Kinmont Moir and published by Traction Publications, Historical Series No. 151 in 1961. The story of the Doncaster and Box Hill Electric Road (tramway). Note on page 6, advises that this book was the 4th edition. Price at the time 2/3d. Has a sketch on the front cover of the opening ceremony at Box Hill, poster advertising the tramway, a map, foreword written by J.K. Moir about Mr. H. J. Hilton who operated the tramway, the birth of the tramway, the company that was formed to operate it, , a sample ticket, opening, operation, timetable, reminiscences of H. J. Hilton. Includes notes on the subsequent work of Mr. Hilton, the AETA, Traction publications and a short biography on the back cover of the author, J. K. Moir. Includes a number of photographs. 2458.2 - ditto - Red card cover (see images i2 and i3) - Second edition - 1950. 2458.3 - ditto - cover same as 4th Edition, - Third Edition 1957 - see image .4 2458.4 - Thirty two page book, centre stapled, including light green card covers titled "Australia's First Electric Tram" written by John Kinmont Moir and the story of the Doncaster and Box Hill Electric Road (tramway). Republished by Rotary Club of Box Hill, May 1977, see back cover for publication details. Has a photo on the front cover of the opening ceremony at Box Hill, poster advertising the tramway, a copy of a share certificate, foreword written by J.K. Moir about Mr. H. J. Hilton who operated the tramway, the birth of the tramway, the company that was formed to operate it, a sample ticket, opening, operation, timetable, reminiscences of H. J. Hilton. See images 5 and 6.On the front cover in black ink "Ex ARHS Archives" 2458.2 and 3 and .4 - has "I. J. Stanley" written in ink on page 3.trams, tramways, box hill, doncaster, tramways

c1918 Private Light Horse, Wounded twice in actionA sepia postcard sized portrait of soldier J. Smith seated on a chair.Typewritten on front: J. Smith Handwritten on front: ............................? Handwritten on back: TO MR AND MRS HEDE WITH BEST WISHES / FROM J SMITHworld war 1, postcards, smith, j., hede, - (mr), - (mrs), soldiers, uniforms, clothing and dress, armed forces, george evans collection

Collection of thirty-nine postcards donated by Jillian Rigby which had been owned by her grandparents, George and Edith Weir, who from c.1917 lived at 84 Princess Street, Kew. The mostly 'mint' postcards were purchased in Victoria and while travelling overseas. The sole dated postcard is dated from 1929. The postcards are numbered sequentially from 2017.0058.01-39. The remainder of the collection donated by Jill Rigby which was once owned by the Weirs of Broken Hill and Kew consist of costumes, costume accessories, photographs, and documents.The postcards in the Weir collection, especially those purchased on a trip or trips to the mother country, i.e. United Kingdom, represent a representative sample of sites that were considered significant to those Australians undertaking a reverse grand tour by member of the erstwhile colonies. Those postcards which are early views of Melbourne must have been produced commercially for some decades from the early part of the 20th century.Souvenir Letter Card of Clovelly containing eight hand-coloured postcards, joined concertina-like, published and produced by J. Salmon, Art Publisher, Sevenoaks especially for G. S. Reilly, The Art Store, Clovelly. The letter card was probably purchased by George and Edith Weir on a trip to England and Scotland, circa 1928.SOUVENIR LETTER CARD OF CLOVELLY / PRODUCED AND PUBLISHED BY J SALMON, ART PUBLISHER, SEVENOAKS / SPECIALLY FOR G S REILLY, THE ART STORE, CLOVELLYpostcards, george and edith weir, postcards -- clovelly (uk), weir collection

A moulding plane is a specialised plane used for making the complex shapes found in wooden mouldings that are used to decorate furniture or other wooden object. Traditionally, moulding planes were blocks of wear resistant hardwood, often beech or maple, which were worked to the shape of the intended moulding. The blade, or iron was likewise formed to the intended moulding profile and secured in the body of the plane with a wooden wedge. A traditional cabinetmakers shop might have many, perhaps hundreds, of moulding planes for the full range of work to be performed. Large crown mouldings required planes of six or more inches in width, which demanded great strength to push and often had additional peg handles on the sides, allowing the craftsman's apprentice or other worker to pull the plane ahead of the master who guided it. All we known about J Budd is that he was a tool maker and retailer that operated a business in London between 1832 to 1864. There are many of his tools including decorative moulding planes of all sizes and designs for sale around the world and that his tools in particular moulding planes are well sought after by collectors of vintage tools. A vintage tool made by a known maker, this item was made commercially for firms and individuals that worked in wood and needed a tool that could produce a ornamental finish to timber. The tool was used before routers and spindle moulders came into use after World War ll, a time when to produce a decorative moulding for a piece of furniture, door trims etc or other items had to be accomplished using hand tools and in particular one of these types of planes. These profiled planes came in various shapes and sizes to achieve a decorative finish. A significant tool from the early to mid 19th century that today is quite rare and sought after by collectors. It gives us a snapshot of how furniture and other decorative finishes were created on timber by the use of hand tools. Tools that were themselves hand made shows the craftsmanship used during this time not only to make a tool such as the subject item but also the craftsmanship needed to produce a decorative finish that was needed to be made for any timber item. Moulding Plane J Budd London & No 4 opposite end flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane moulding, j budd

Silver tray or plate - presentation for 25 years service to Jack Pollard, pressed silver plated metal with green rubber base, etched centre scroll work with details of the presentation in the centre. "PUBLIC TRANSPORT CORPORATION PRESENTED TO J. Pollard. IN RECOGNITION OF 25 YEARS OF CONTINUOUS SERVICE TO PUBLIC TRANSPORT". Made by Strachan Australia. See Reg Item 182 for the Photo of the Presentation. Copy print of original by David Pollard. See correspondence (pdf files) for further details of Jack. See also Reg Item 204 for another example.See above.trams, tramways, personnel, presentations, malvern depot, 25th anniversary, ptc, silverware

Used as flour or sugar scoop, tis scoop, when full, measures 1/2 cup.Metal scoop with wooden handle"Level full 1/2 cup A & J Made in USA"scoops

William Turner, a Scottish born free-lance designer, who was contracted to GP&J Baker, painted the image on which the design was based in 1918. Turner had trained as a furniture designer before leaving for London in the 1890s, where he rose to prominence as an Arts & Crafts designer. The bird that gives this design its name is adapted from Robert Havell’s ‘A Collection of Birds of Paradise’, published in 1835, and was a favourite of Victorian chintz designers.“Paradise Bird” has been in continuous production since its creation. The hand-block print, of which these curtains are an early example, was supplemented by a version engraved on copper rollers in 1962, and was updated onto screens in 1982. The curtains have significance to the collection because of their intrinsic value and for the link to one of the historic mansions in the City of Boroondara. The curtains by G.P & J Baker of London use one of the exemplary designs in this manufacturer’s output. The first use of the design was in 1918, following the Great War, and the design is said to reflect the hope for peace which was a feature of the postwar years. The curtains are an early example of the Paradise Bird design, and were block printed. A pair of curtains originally situated in one of the front reception rooms of 'Tourmont' in Balwyn Road, Balwyn (now Fintona Girls’ School). The fabric in the curtains was manufactured by the English firm of GP&J Baker. The textile design is variably named as ‘Paradise Bird’ or more recently, ‘Hydrangea Bird’. Turner’s bird perches in a blossoming branch directly above a woodpecker, which is an attribute of Mars, god of war. Thus the design reads as a symbolic statement where War is reversed and Paradise returns (a hopeful message at the end of WWI). “Paradise Bird” has been in continuous production since its creation. . curtains, fabric design, historic buildings

Skin press made by J. Dyson and Sons, Geelong and used at Foster Valley Mill to manually press sheep skins.Skin press made by J. Dyson and Sons Pty Ltd, Geelong and used at Foster Valley Mill. Maker's mark of skin press made by J. Dyson and Sons Pty Ltd, Geelong and used at Foster Valley Mill.J. DYSON & SONS PTY LTD / GEELONGwool pelts, valley worsted mill j. dyson and sons pty ltd, wool - pelts

Receipt issued to Mrs. W. Grigg 20/10/1941.Text: " Phones - Linton Nos. 3 and 8. / LINTON / J. & F. O'BEIRNE / WOOL AND SKIN MERCHANTS. / Wool-scouring and Fellmongery Works at Breakwater, Geelong. / Distributing Agents for Thomas' Sheep Dip, Gold SeEal Motor Lubricating Oils. / Manufacturers of Neatsfoot Oil. "mrs. w. grigg, j. & f. o'beirne, linton

Mathematic book used in Victorian programme of instuction.Grey card cover with black border and print diamond shaped design two thirds of the way down the coverFederal Mathematics for Grade VIII. Edited by J. McRae, M.A. Inspector of Schools, Victoria Specially written to meet the requirements of the New Victorian Programme of Instruction. Melbourne: Christchurch: Wellington: Dunedin N.Z. & London Whitcombe & Tombs Limited 1/6 Inside: Theresa Euphemia Cummingstawell education

Edge of brick building part of the light industrial area including N. J. Tillings Timber Factory, Brougham Street, Eltham. This is one of 7 B/W 8x10 inch photos with notes on back by Dick Crichton. Accompanying letter from Florence Chrichton 2013 : "Originally sent to Shire of Eltham Engineer, Mr. McDonald. [These photographs were part of their campaign to the Shire of Eltham in 1975] claiming that the zoning regulations were being breached by the occupants of various factories in the nearby light industrial zone [Brougham Street, Eltham] - to the detriment of those living in adjoining residential zones, and that, despite .. earlier objections and complaints, nothing was done about it." 1 black and white photograph printed with white border on three sidesindustrial estate, brougham street, eltham, 1975, bolton street, dick crichton, n.j. tillings, timber factory, shire of eltham

Piles of dirt alongside dirt road, part of the light industrial area including N. J. Tillings Timber Factory, Brougham Street, Eltham. This is one of 7 B/W 8x10 inch photos with notes on obverse by Dick Crichton. Accompanying letter from Florence Chrichton 2013 : "Originally sent to Shire of Eltham Engineer, Mr. McDonald. [These photographs were part of their campaign to the Shire of Eltham in 1975] claiming that the zoning regulations were being breached by the occupants of various factories in the nearby light industrial zone [Brougham Street, Eltham] - to the detriment of those living in adjoining residential zones, and that, despite .. earlier objections and complaints, nothing was done about it." 1 black and white photograph printed with white border on three sidesInscribed on back: "View from residential premises in Brougham Street. Trees in foreground will soon be lost due to making of the main drain by M.M.B.W.. Photograph shows topographical features of the valley and how sound travels upwards and outwards to residential zones surrounding." industrial estate, brougham street, eltham, 1975, bolton street, dick crichton, n.j. tillings, timber factory, shire of eltham

ABOUT THE ARTIST – Philip James Gray “Philip is one of Australia’s leading maritime artists and his meticulous research and social commentary paintings of ships, such as, the Loch Ard and Schomberg form an important part of Warrnambool’s Flagstaff Hill Maritime Museum.” [ref. Dr Marion Manifold, Artist and Art Historian, 2014] Philip James Gray was born in London but has lived most of his life in Australia. He graduated from a London school of art as an illustrator, specialising in technical and scientific illustration as well as other commercial and applied art. He was also a student for a time of Fyffe Christie - British figurative artist, mural painter and humanitarian – who had a great influence on his career. Philip has always worked as a professional artist and illustrator. Many publications on maritime history have featured his work. His paintings have been released and sold all over the world as limited edition prints. The State Library of Victoria’s ‘Latrobe Collection’ holds two of his paintings. His street painting of ‘The Ashes Contest’ decorates the brick wall of Old Bakery Laneway in Sunbury and a Sunbury café owner commissioned him to paint the ‘Sunbury Pop Festival’ as a remembrance of local history. [ref. Sunbury Leader, Nov 15 2013] Philip has been an active member of the Sunbury Art Society in Victoria for several years, serving on the committee for some of that time and being involved in exhibitions. He enjoys helping new artists and sharing his skills and experience. [other references: Sunbury Art Society Inc. Oct-Nov 2012] HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. Print of the sailing ship Loch Ard by artist Philip J. Gray, 1993. Depicts the Loch Ard in full sail at sea, figures on deck. Limited Edition number 54/925. Print is adhered to a piece of chipboard and is stamped by the framer, Ian's Picture Framing of Warrnambool.Signature of "Philip J. Gray" , "54/925" Stamped on back "IAN'S PICTURE FRAMING, 48 KEPLER STREET, WARRNAMBOOL 3280, PH: (055) 628 022, FAX: (055) 628 145"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, print, philip j. gray