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Melbourne Legacy
Newspaper - Article, A touch of class, 1977
An article about Ivanhoe Grammar School students who were involved in the school's 'activities week' where the student undertook community service. Legacy found six houses in need of painting and 66 boys were given the task. The Legacy widow, Mrs Drowley of Fairfield appreciated their work and provided tea and scones. Otherwise it was at no cost to her. Pictured were Neil Gaule, Matt Campbell, Con Markidis, Neil Jordan, Peter Augustes and Bruce Permezel. The article was cut from the newspaper and pasted into a scrapbook. For many years Legacy kept scrapbooks of press clippings that related to their work and publicity. Not all pages have been listed individually but some are listed from 02164 to 02176.A record of the types of services that Legacy helped arrange for the widows and which were published in the press in 1977.Newspaper article in the 'Heidelberger' newspaper about boys painting a Legacy widow's house in 1977 pasted to brown page of a scrapbook.Stamped '24 Aug 1977' in purple ink.widows, painters, ivanhoe grammar -
Phillip Island and District Historical Society Inc.
Framed Life Saving Certificate, 11-07-1901
This was given to William James Kennon. He was attempting to take assistance to a wrecked barque at Cape Patterson on April 25th, 1901. The ship was the barque "Artisan".Framed, printed Certificate of Meter, in black lettering with hand written name and particulars of recipient. A gilded matt is surrounded by an ornate wood and gesso frame which is in poor condition. On the back the paper has disintegrated. The Certificate is paper, mounted on cloth, mounted on stretcher. Remains of framer's label, also Phillip Island label stuck on back. Certificate is from Royal Humane Society of Australasia.(Hand written in copperplate, in black ink) ......11th Day of July 1901:...... William James Kennon of Cowes, a blacksmith, aged 21 years, in attempting to take assistance to the crew of the wrecked barque "Artisan" at Cape Paterson, on the 23rd April 1901................? Hamilton (Sec) ..........? (Pres.)...............local history, trophies & awards, public events, certificate of meter, cape patterson, royal humane society of australasia -
Glenelg Shire Council Cultural Collection
Photograph - Photograph - HMAS Sydney at Portland, 1970, 1970
On display at History House.Black and white photograph of a ship next to a stone jetty. The ship is festooned with flags from stern to central radar tower. Many people are on the deck at the prow ship and many more are visible on the jetty in background left. Ship bears the numbers : "P2142" towards the prow. Mounted in cream matt, under glass in white wooden frame. HMAS Sydney at Portland, 6th & 7th April, 1970Front: H.M.A.S. Sydeny at Portland 6th & 7th April, 1970 (typed label, lower centre). Back: (no inscriptions)hmas sydney, 1970, portland harbour -
Flagstaff Hill Maritime Museum and Village
Photograph - Portrait, Burlington, Jane Osborne nee Shields, 1870's to 1923
This photograph of Jane Shields was taken at the Burlington Studio, Melbourne in the late 19th to early 20th century. Jane Shields became friends with Eva Carmichael in 1878, a friendship that continued throughout their lives. The item was created by layering fabric glued onto card, the the oval-cut photograph blued onto the fabric. A tea set was given by Eva Carmichael, a survivor of the ship Loch Ard which was wrecked near Port Campbell in 1878, to Jane Shields, who was the young woman who supported Eva during her recovery from the ordeal. Jane was Eva’s close companion while she was convalescing at Glenample Homestead. The friendship between the two women continued after Eva Carmichael returned to her home in Britain, became Mrs Townsend, and had three sons. Jane Shields also married, becoming Mrs John Osborne and bearing four daughters and two sons. In 1926-27, almost forty-eight years after the shipwreck, one of Jane’s daughters (Ella Marie Schulz nee Osborne) visited Eva in England. Eva gave her the tea set to take back home to her mother. Jane died in 1932 and her tea set was inherited by her daughters, who divided it between themselves, a four-piece place setting for each of them. This photograph of Jane Osborne nee Shields is significant for its connection with Eva Carmichael and the wreck of the Loch Ard in 1878. Memorabilia connected to Eva Carmichael are precious and rare. The shipwreck of the Loch Ard itself is of significance for Victoria and is registered on the Victorian Heritage Register (S 417). Flagstaff Hill has a varied collection of artefacts from Loch Ard and its collection is significant for being one of the largest accumulations of artefacts from this notable Victorian shipwreck. The collection gives a snapshot of history, enabling us to interpret the story of this tragic event and the lives of the people involved. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allow us to interpret Victoria's social and historical themes of the time. The collection's historical significance is that it is associated unfortunately with the worst and best-known shipwreck in Victoria's history.Photograph; studio portrait of the upper torso of a female. The photograph has been has been cut into an oval shape, glued on rectangular fabric that was already glued onto card. The woman is wearing a light-coloured jacket, white blouse and bow tie. The figure is Jane Osbourne, nee Jane Shields, a friend of Eva Carmichael. An inscription is handwritten on the matt card. Burlington, Melbourne, produced the photograph."Burlington, Melb." flagstaff hill, warrnambool, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, china tea set, tea cup, tea set, royal blue china, eva carmichael, jane shields, glenample, loch ard, place setting, eva townsend, jane osborne -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1878
This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. This bottle is now part of the John Chance collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late-1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. Its significance is increased by also being an artefact recovered by John Chance, a diver from the wreck of the Loch Ard and other wrecks in the late-1960s to early-1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance 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 shipwreck is one of the worst, and best known, shipwrecks in Victoria’s history.Bottle, black glass. Thick matt body, with slightly bumpy texture, areas with sheen, colour imperfections. Tooled cork-top finish with ring below, slightly bulged neck. Shoulder has a line where shoulder meets body. Body tapers inwards to base. Heel varies in width. Pushed up base has pontil mark. Handmade, dip mould. No inscriptions.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, black glass, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle -
Melbourne Tram Museum
Ephemera - Calendar, Yarra Trams, 2011
Printed A4 calendar on matt paper, full colour providing dates for 2012 including public and school holidays, Australian Open, Grand Prix, Pay weeks and Daylight saving, phone numbers for contacts at each depot, Yarra Trams logo and a symbol for the "The Happy Year of the Dragon". Also has details of Transport Health Insurance. Has a part photo of Z3 158, the Royal Tram.trams, tramways, yarra trams, calendar, tram 158 -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, Botanical, Collin Elwyn Woolcock, Senecio Odoratus (Scented Groundsel), 1985
Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Drawing of a stem and flower detail of plant with flat, elongated serrated leaves of a pale sage green, bigger at base of plant and diminishing in size as they ascend the stem. At top of stem are flower heads consisting of multiple small yellow blossoms. At lower right is a detail of one of these flowers. Work is mounted in a double matt (pale cream on faun), framed under glass in gold and green wooden frame.Front: Senecio odoratus (Scented Groundsel) (lower left) (pencil). CEW/85 (lower centre in image) (maroon pencil). Back: 38 (top left) (pen)collin woolcock, botanical, woolcock collection, cema, botanical drawings -
Glenelg Shire Council Cultural Collection
Print, Allan Mann, Ikon to a Fossil King, c. 1982
NoneAbstract image. Centre image is a human (shown without skin) climbing a narrow mound/hill form. At the top is a screen supported by three poles. The screen reproduces a photograph of what appears to be a classical narrative bas-relief sculpture. On each side of the hill are Celtic and Norse carvings/gilded artefacts/metalworks mounted on long poles. Abstract could patterns are at the top of the print. No matt. Silver metal frame.Front: 1/10 (lower left) Ikon to a Fossil King (lower centre) Allan Mann (lower right) (pencil) Back: (no inscriptions) -
Glenelg Shire Council Cultural Collection
Print, John Courier, Reclining Figure, c. 1974
UnknownAn abstract figure lies horizontally in the centre of flat and patterned fields of colour. The figure comprises of white, blue and burgundy. The colours in the background comprise of layers of green, blue, dark rose and dark green, which combine to make fields of maroon, aqua, dark green and textured dark blue. Mounted in brown matt, framed in silver painted wooden frame, with red undercoat showing through areas of wear.Front: J Courier (lower left) Reclining figure (lower right) (pencil). Back: Artist J Courier 368 Toorak Rd Sth Yarra. Title: Reclining figure. Price $90 framed, $70 un-framed.abstract, figure, print -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1878
This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. This bottle is now part of the John Chance collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late-1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. Its significance is increased by also being an artefact recovered by John Chance, a diver from the wreck of the Loch Ard and other wrecks in the late-1960s to early-1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance 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 shipwreck is one of the worst, and best known, shipwrecks in Victoria’s history.Bottle, black glass. Thick matt body, with slightly bumpy texture, areas with sheen, colour imperfections. Mouth has cork seal. Tooled cork-top finish with ring below, slightly bulged neck. Shoulder has a line with a long bump where shoulder meets body. Body tapers inwards to base. Pushed up base has pontil mark. Handmade, dip mould. No inscriptions.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, black glass, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle -
Bendigo Historical Society Inc.
Ephemera - NEW YEAR GREETING CARD
New Year Greeting card: Embossed card with 13 small dogs in pairs on snow of various colours and breeds in s semi circle'. Inscription: 'With all best Wishes for the New Year. Next page a snow scene light green in colour.. Third page is a poem. Hand written is To Matt from your loving sister Alice wishing a happy & prospers (sic) New Year. Box 625ephemera, mementoes, celebrations, happy new year greeting card. -
National Vietnam Veterans Museum (NVVM)
Photograph - Collage, 9RAR
Nine coloured and four black and white Photograph in a black frame with a white matt. These Photograph depict the administration/support for 9 RAR. Depicting Pte Manning, O'Toole, Gustav, Wilson, Sloan, Nankervice, Parcell, Mathews. Anti tank platoon members, helicopters, vehicles, mess hall, tracker dog 'Janus'. In the centre of the Photograph reads Good Meal take a long time to prepare, Yours will be ready in a minute.9 rar, administration support, anti tank platoon, collage, photograph -
Hume City Civic Collection
Photograph
The Heffernan family posed outside their home. The house is a classical weatherboard surrounded by verandah. The surrounding area is very bare. The family group is comprised of a bearded gentleman, a woman, 1 young man with a bike, 3 boys and 2 young women.The photo is mounted on a grey cardboard matt. It is foxed and has 2 pin holes centre top and an area of residual staining from sticking tape centre top.Matson and Frazer HEFFERNAN FAMILY 264 Lt Collins St Heaves House High School On back: Eric Boardmaneric boardman collection, heffernan family, houses, racecourse road, macedon street, sunbury, heaves house, high school, george evans collection -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Ron Hann, Jan. 1963
Yields information about the Bendigo tram depot office block, the scrubber tram and the way it was placed on blocks to have the truck or bogie repaired..Black and white print on heavy matt photographic paper of the Bendigo scrubber tram on blocks outside the administration section of the depot, while the truck or the wheels undergoing repairs. In the background is "Bundy" clock on the wall of the depot, and a man resting on a bicycle. 2nd copy - laser print - with date etc on rear - added 22/2/2010, copy from Ron Hann. Printed on Fujifilm, Fujicolour Crystal Archive for Frontier"On rear in pencil "Scrubber Bendigo 1963" 2nd copy has label "Reference 6/212/34" Photo by Ron Hann" and another label "Bendigo Depot 01.63"tramways, trams, bendigo, depot, scrubber tram, tram scrubber -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, Botanical, Collin Elwyn Woolcock, Grevillea Aquifolium (Prickly Grevillea), n.d
Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Illustration of a plant with prickly pointed leaves (holy-like) and pink flowers with thin tubular petals and yellow stamens (toothbrush-like in appearance). New leaves are at top with brown-red colouring. To mid-right of plant are two seed pods with a pink petal tube emerging from end. Mounted in double matt (faun on orange), framed under glass in gold, blue and brown wooden frame.Front: CE Woolcock (lower left) (green pencil) Back: Grevillea aquifolium (Variable Prickly Grevillea) (Sticky label, blue pen) CE Woolcock (signature)collin woolcock, botanical, woolcock collection, cema -
Glenelg Shire Council Cultural Collection
Drawing, Collin Elwyn Woolcock, Helichrysum paralium (Coast Everlasting). Helichrysum secundiflorum (Cascade Everlasting). Helichrysum thyrsoideum (Sticky Everlasting), n.d
Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Drawings of cuttings of a plants with different views and details. Two larger views depict stems with flowers and leaves. These are at the top and the bottom of the image, with the lower stem showing more base of the florettes. Six different views of leaves, three floew details and a smaller stem study accompany the larger studies. The work is mounted in a double matt (off-white on grey) and framed under glass in a wooden frame with silver-paint.Front: Hel. secundiflorum (Cascade Everlasting) " paralium (Coast " ) ~ " thyrsoideum (Sticky " ) (lower left) (pencil) Back: 29 (upper left) (pen)cema, botanical, collin woolcock -
Glenelg Shire Council Cultural Collection
Painting, James McLear, Untitled, 1990
A depiction of a seascape with six large rocky outcrops emerging from the ocean. The rocks are painted in horizontal layers of red, yellow and blue. The sea is indigo with highlights in white and darker areas of near black. Sky depicts a dawn or dusk view, with lower half washed in apricot and yellow with touches of red/orange. Upper half of sky is blue. In faun matt and framed under glass in wooden frame with gold edging.Front: McL 90 (lower right) (white paint) Back: (no inscriptions) -
Glenelg Shire Council Cultural Collection
Drawing, Collin Elwyn Woolcock, Lissanthe Strigosa (Peach Heath), 1973
Part of 'Woolcock Gallery Collection' Exhibited CEMA 1989.Several views of flowers, buds and leaves, and one view of cutting. Stem cutting with pointed, thin leaves with dark green tops and pale green undersides. Flowers are white with pink colouring at the ends. Their shape is cup-like with five petals forming a star at top. Stamens end in brown pollen clusters. Work is mounted in a double matt (grey on mauve) and framed under glass in a gold painted wooden frame.Front: CEW/73 (lower left in image, signature) (maroon pencil), Peach heath. Lissanthe strigosa (lower left) (pencil) 34 (lower right, pencil) (erased). Back: (no inscriptions)cema, botanical, collin woolcock -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Ixiolaena leptolepis (Plover Daisy), Mallee & Wimmera. Minuria leptophylla (Minnie Daisy), 1985
Part of "Woolcock Gallery Collection". Exhibited CEMA 1989.Framed ink drawing of cuttings and flower details of two plants. Five drawings include one cutting of multiple stemmed plant with long leaves and one flower per stem, one cutting of multiple stemmed plant with long narrow leaves and one flower (daisy-like) per stem and three flower details. Mounted in a double matt (white on dark grey) under glass in a silver painted frame.Front: CEW/85 (signature, lower left in image) (ink) Ixiolaena leptolepis (Plover Daisy) Mallee & Wimmera Minuria leptophylla (Minnie Daisy) (lower left) (pencil) Back: 32 (upper left) (pen)collin woolcock, botanical, woolcock collection, cema -
Flagstaff Hill Maritime Museum and Village
Book - Portfolio, Newcraft Pulicity, The Line of Sail; Magnificent Clipper Ships, 1969
These prints include large sailing ships that were also referred to as Clippers and Tall Ships. These ships were used to transport cargo and passengers across the world in the 19th century. They were powered purely by harnessing the wind. It could take three to four months to sail in this manner from England to Australia. On many occasions the ships were wrecked, often close to their destination, through errors of navigation. The method of production of the original images is over a century old. The Melbourne publisher of this portfolio book, Newcraft Publicity, describes the contents as follows-' Magnificent Clipper Ships: Clipper ships in the line of sail make the most romantic and spectacular pictorial chapter of marine history. This collection depicting early clippers and other types of sailing ships were originally fine engravings on wooden printing blocks used in newspapers a century ago. They were taken directly from the original newspaper prints, and reproduced in enamel inks to provide a choice of fine line prints suitable for framing. LIST OF PRINTS- The New Australian Clipper "BLUE JACKET" The Clipper Ship “CHRYSOLIER” The “GAUNTLET” Clipper Ship The New American Clipper “GREAT REPUBLIC” The Clipper Ship “GUIDING STAR” New Emigrant Ship “HESPERIDES” for the South Australian Line Capt. Beatson’s Expedition in search of Sir John Franklin – the “ISABEL” The Black Ball Line Clipper Ship “JAMES BAINES” The “MERCHANT PRINCE” – Australian Clipper The White Star Line Clipper Ship “MORNING LIGHT” The Aberdeen Clipper Built Barque “PHOENICIAN” New Australian Clipper Ship the “ROYAL FAMILY” The “SOVEREIGN OF THE SEAS” American Clipper The New Iron Clipper Built Ship “TAYLEUR” for Australia H.M. New Frigate “THETIS” The American Clipper Ship “WITCH OF THE WAVE” ABOUT THE PUBLISHER- The Newcraft Publicity was a Melbourne business that operated in the 1960s at 243 Collins Street, Melbourne.This portfolio book of clipper ship prints is historically significant as it shows an important part of Australia's history, It includes some of the shipping lines famous in the 19th century for transporting passengers and goods to Australia. The prints are also significant for their origin in the carved wooden blocks used a century ago for creating images for the newspapers of the time. Book is also significant from being one of a limited edition of books produced. There are copes in both the Victorian State Library and the National Library of Australia.The Line of Sail is a portfolio of sixteen fine line, black and white prints on paper. The subject is clipper ships. The covers are paper-covered card, coloured a strong blue with white line images and text. The image side of the pages has a sheen, the back is matt. Each print has a caption. The top of the book is stapled and bound with grey tape. Produced by Newcraft Publicity, Melbourne. Limited Edition - Copy Number 086. Stamped on front cover "086"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, lithographs, newscraft publicity, book, the line of sail, dlipper ships, tall shipos, sailing ships, wood block print, newspaper drawings, newcraft productions, newcraft melbourne, portfolio of clipper ships, limited edition, wooden engravings, magnificent clipper ships -
Flagstaff Hill Maritime Museum and Village
Container - Bottle, 1840s to 1878
This handmade black glass bottle was recovered between the late 1960s to early 1970s from the wreck of the sailing ship Loch Ard. The ship was wrecked in 1878 and its remains are located at Mutton Bird Island, near Port Campbell, Victoria and bottles of liquor were listed as part of the Loch Ard’s cargo. This bottle is now part of the John Chance collection. Black glass is one of the oldest bottle colours and dates back to the early 17th century. In the 1840s to late-1870s black glass bottles were mainly used for liquor and ale. All glass is made from silica, which is found in quartz sand. The naturally occurring sand has impurities, such as iron, that determine the colour of the glass. Residual iron leads to green or amber coloured glass, and carbon in the sand makes that glass appear as ‘black’. A strong light behind the glass will show its colour as dark green or dark amber. This handmade bottle appears to have been made in a dip mould, with the molten glass blown into a seamless shoulder-height mould to give the body a uniform symmetrical shape and size. After the body is blown, the glass blower continues blowing free-form (without the mould) to form the shoulder and neck, then the base is pushed up with a tool, and the finish for the mouth is added with his tools. The dip mould gives the body a slightly textured surface, with the free blown shoulders and neck being smoother and shinier. There is usually a line around the shoulder where the mould of the body meets the shoulder, and a lump or mark in the centre of the base, called a pontil mark, where the push-up tool was removed. The ship Loch Ard was built on the River Clyde in Scotland in 1873 for the prestigious Loch Line of colonial clipper ships, designed for the Australian run. It sailed from England on 1 March 1878 carrying 37 crew, 17 passengers and a diverse general cargo ranging from luxury items to bulk railway iron. On 1 June 1878, emerging from fog and hearing too late the sound of breakers against the tall limestone cliffs, the vessel struck the southern foot of Mutton Bird Island and sank in 23 metres of water. Of the fifty-four people on board only two survived, one young male crewman, Tom Pearce, and one young female passenger, Eva Carmichael. This bottle is historically significant as an example of liquor bottles imported into to Colonial Victoria in the mid-1800s to early-1900s. Its significance is increased by also being an artefact recovered by John Chance, a diver from the wreck of the Loch Ard and other wrecks in the late-1960s to early-1970s. Items that come from several wrecks along Victoria's coast have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value. The bottle is also significant for being part of Flagstaff Hill’s collection of artefacts from the Loch Ard, which is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. The collection is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417. The collection has additional significance 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 shipwreck is one of the worst, and best known, shipwrecks in Victoria’s history.Bottle, black glass. Thick matt body, with slightly bumpy texture, areas with sheen, colour imperfections. Tooled cork-top finish with ring below, slightly bulged neck. Shoulder has some diagonal creases and a line where shoulder meets body. Body tapers inwards to base. Heel varies in width. Pushed up base has pontil mark. Base is uneven. Handmade, dip mould. No inscriptions.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, loch ard, mutton bird island, eva carmichael, tom pearce, john chance, bottle, black glass, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle -
Flagstaff Hill Maritime Museum and Village
Drawing - Pastel Picture, W.R. Angus (Dr. William Roy Angus), 1925
This large pastel drawing was created by Dr W.R. Angus in 1925, the year after he graduated as a doctor in South Australia. In 1926 Dr Angus was appointed as Medical Assistant to Dr Thomas Francis Ryan, in Nhill, Victoria, where he extended his experiences in radiology and pharmacy. Eventually, in 1939, he and his wife Gladys moved to Warrnambool, Victoria, with their children. The drawing is part of the W.R. Angus Collection, which includes another of the doctor’s pastel drawings and a box of used pastels. The picture was framed by W.H. Rogers & Co. of North Terrace, Adelaide. The business also framed maps and plans. This pastel drawing is locally significant for being the work of Warrnambool doctor, W.R. Angus. It is part of the W.R. Angus Collection, which is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being a historical example of medicine, administration, household equipment and clothing from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery. The collection includes Army objects, which are examples of items issued to Doctors and Surgeons in the Medical Services of the Australian Army in World War 2. It also includes household items used by Dr Angus and his family from the 1920s in various locations including Warrnambool, together creating an understanding of the furnishing of an early to mid-20th century home.Pastel drawing behind glass in a rectangular wooden frame with an unusual oval wooden matt. The subject is a scene with a pink-tinted sky reflected in a river running between the foot of two hills with trees. The picture was created and signed by W R Angus in 1925. The back is covered in brown paper and has a mounting wire. Inscriptions are on the picture and the back. A remnant of the framer’s label is attached. The picture is part of the W.R. Angus Collection. Signature and date; “W.R.A. / 1925” Printed on label remnant; “—Rogers & Co. / - ORIA STREET / - way Station, North Terrace / “THE CORRECT FRAMERS” / -lise in Map and Plan Mounting / PHONE 5437”flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, drawing, pastel drawing, pastel drawing by w.r. angus 1925, rogers & co., w.h. rogers & co., correct framers, w.r. angus collection -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Ron Hann, Jan. 1963
Yields information about the North Bendigo terminus, the level crossing and roof advertisements on the tramcar.Black and white print on heavy matt photographic paper of Bendigo 19 at the North Bendigo terminus, with the conductor walking back to the tram, c1963. The tram has an "Electric Cook" roof advertisement and "Cohns Drinks" advertisement on the front dash panel. 2nd copy - laser print - with date etc on rear - added 22/2/2010, copy from Ron Hann. Printed on Fujifilm, Fujicolour Crystal Archive for Frontier"On rear in pencil "North Bendigo 1963" 2nd copy has label "Reference 6/212/30" Photo by Ron Hann" and another label "Bendigo North 01.63"tramways, trams, bendigo, north bendigo, tram 19 -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Ron Hann, Jan. 1963
Yields information about the Quarry Hill terminus and roof advertisements on the tramcar.Black and white print on heavy matt photographic paper of Bendigo 18 at Quarry Hill terminus with the driver walking back to the tramcar. The tram has a White Horse Whiskey advertisement on the front dash panel, and two electric cooking roof advertisements. 2nd copy - laser print - with date etc on rear - added 22/2/2010, copy from Ron Hann. Printed on Fujifilm, Fujicolour Crystal Archive for Frontier"On rear in pencil "18 Quarry Hill 1963" 2nd copy has label "Reference 6/214/28" Photo by Ron Hann" and another label "Bendigo Quarry Hill 01.63"tramways, trams, bendigo, quarry hill, tram 18 -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Acrotriche serrulata (Honeypots), 1989
Part of "Woolcock Gallery Collection" Exhibition 1989, CEMAFramed drawing of cutting, flower and leaf details of plant with brown stem, long pointed green leaves and green and purple flowers. Eight drawings, including one cutting, four flower details (3 side views, 1 above view) and 3 leaf details. The work is mounted on pale purple (first layer) and pale Grey (second layer) matt. It is framed under glass in a gold and grey-green frame.Front: CEW (born pencil - next to stem). Acrotriche serrulata (bottom left) Back: 8 (upper left)botanical, woolcock, woolcock collection, collin woolcock, botanical drawings -
Glenelg Shire Council Cultural Collection
Drawing, Collin Elwyn Woolcock, Ixodia archilleoides (Ixodia). Myriocephalus stuartii (Poached-eggs Daisy), 1984
Part of "Woolcock Gallery Collection". Exhibited CEMA 1989.Framed drawing of cuttings and details of two plants, one with tall green stem with long leaves and a group of white and yellow-brown (daisy-like) flowers at top of stem, and one with narrow furry green stem and leaves with a single white and yellow flower at top of stem. Seven drawings include two cuttings and five flower details. Mounted in a double matt (grey on apricot) under glass in a gold and brown frame.Front: CEW/84 (signature, lower left in image, next to stem) (green pencil) Ixodia archilleoides (Ixodia) Myriocephalus stuartii (Poached-eggs Daisy) (lower left) (pencil) Back: 15 (upper left) (pen)cema, botanical, collin woolcock, woolcock collection, botanical drawings -
Flagstaff Hill Maritime Museum and Village
Card - Commemorative, Julian Aird, 'Illumination', Early 21st Century
The photograph was created by Geelong artist Julian Aird and framed by a business in Geelong. The window in the photograph is of the 1928 stained glass window and the baptism fold in the St Nicholas' Seamen's Chapel at Flagstaff Hill Maritime Village, which were installed at Flagstaff Hill's for the Chapel's opening in 1981. About the Window - The window in this photograph, once known as the Dr Connell Memorial Window, was a feature of an external wall adjacent to the Women’s and Children’s Wards of Warrnambool Hospital. Honorary Doctors had played a significant role in the operation of the hospital between the years 1900 to 1939. One of these doctors was Dr. Connell, who passed away in 1928. The green glass memorial nameplate has an inscription that dedicates the window to Dr. Connell. The inscription reads: "A tribute to Egbert John Connell M.B.B.S. who for 30 years rendered devoted and valuable service to this institution. Obiit April 4th 1928, A.D." The photograph's significance lies in the subject of the stained glass window, and its connection with the history of the local Warrnambool Base Hospital, dating to Dr Connell's work there in the early 20th century.This photograph captures the light shining through an arched, stained glass window behind a baptismal font. Rectangular framed photograph, portrait view, behind glass, with black frame and matt. A cord for hanging it is attached at the black, and there is a black, round felt pad on each lower rear corner. The photograph by Julian Aird is titled 'Illumination' and was framed in Geelong. Details of title, and photographer are handwritten on the back and and printed label gives the contact details of the framer. Written by hand in black pen " 'ILLUMINATION' / MARITIME MUSEUM WARRNAMBOOL", "JULIAN AIRD / TEL/FAX. 03 52890457" " Printed on adhesive label "EASTERN VIEW / PICTURE FRAMERS" "Proprietors Steven & Annemarie Hocking / 162 Malop Street, Geelong, Vic, 3220 / Ph. (03) 5229 5935" Logo on label in centre of oval with text [2 tall water birds facing each other with a water fountain between them]flagstaff hill maritime museum & village, maritime museum, maritime village, great ocean road, shipwreck coast, ulian aird, illumination, photograph, dr. connell, stained glass window, baptism font, gbert john connell, st nicholas seamen's church, warrnambool hospital, dr connell memorial window, eastern view picture framers, steven & annemarie hocking -
Glenelg Shire Council Cultural Collection
Print, Albert Henry Fullwood, Portland Victoria, c. 1886
NilScene of Portland Harbour. View includes people walking on beaches, jetties, moored boats (some with sails, some without). Upper centre of image shows a town, with a church to the right. To the left centre is a planned garden with people promenading. In foreground is empty land with a few seagulls. A train track enters the image on bottom centre. Print is predominantly in shades of blue, grey and brown. Mounted in dark cream matt, in wooden frame with glass.Front: A. Hy Fullwood (lower left, grey paint) "Portland Victoria" A. H. Fullwood 1836-1930 (printed below image) Back: (no inscriptions) -
Ballarat Tramway Museum
Photograph - Black & White Photograph/s, Ron Hann, Jan. 1963
Yields information about the Ballarat tramway / railway level crossing and the street scene with a railcar using the level crossing.Black and white print on heavy matt photographic paper of No. 26, northbound, at the Ballarat Railway Station gates, Lydiard St Nth waiting for a 280HP railcar to clear the level crossing, with a number of other motor vehicles in the photo. In the background is the signal box and Victoria House. 2nd copy - laser print - with date etc on rear - added 22/2/2010, copy from Ron Hann. Printed on Fujifilm, Fujicolour Crystal Archive for Frontier"On rear in pencil "26 Ballarat Station 1963" 2nd copy has label "Reference 6/113/6 Photo by Ron Hann" and another label "Ballarat 01.63"tramways, trams, railway station, level crossings, lydiard st nth, railways, tram 26 -
Clunes Museum
Photograph, BLACK PHOTO
PHOTOGRAPH OF LOWER END FRASER STREET CLUNES LOOKING EAST, HORSE AND DRAY IN STREET. PHOTOGRAPH SHOWS BUTCHER SHOP, SEVEN STARS HOTEL, DOWNES RESIDENCE WAS SHAMROCK HOTEL SYMONS IRONMONGERS STORE TIMBER YARD. [LUCKRAFT HOTEL, COMMERCIAL HOTEL] TAKEN ABOUT 1899 .1 BLACK AND WHITE PHOTO PRINT .2 ENLARGED PHOTO PRINT .3 SEPIA PHOTOGRAPH MOUNTED ON MATT BOARD WITH LOCATION WRITTEN AROUND PHOTOlocal history, photography, photographs, shops, symons ironmongers store, seven stars hotel, shamrock hotel, luckraft hotel, commercial hotel ., township - hotels