Memorial Card: With angels, doves and funeral emblems and inscribed 'The Kiss dear Maid thy Lip has left, Shall never part from Mine, Till Happier Hours restore the Gift, Untainted back to thus,* on the front page. Ornate lace work is inside the card with an Angel in silver and a garland of coloured flowers underneath. A double heart inscribed Inseparable' is at the bottom. Box 625ephemera, mementoes, cards, memorial. funeral. remembrance.

Trophy donated in 1970, by Mr Peter Damman in memory of his father, a Past Commodore of the Club, Seasons 1924-1918, and Long Serving member. Allocated for ‘Off-the-Beach Boats’ it was first won January 15, 1972, by J.S. Collingwood with the Heron Class yacht Cirius II. Later to become solely for the Cadet Dinghy Section and first won Season 1975-76 by L. Mulligan with Kestrel. Following the demise of the 12ft Cadet Dinghy Class, trophy reallocated to cover Squadron long distance series of events.Silver rose bowl trophy standing 240 mm high to lip edge, 380 mm in diameter on solid flared stepped footing. Raised grapes and leaves around top edge also footing of bowl. Has silver wire grid. Trophy mounted on 70 mm high round, bevelled Rosewood base, with silver winners’ inscription shields around bevelled diameter.ROYAL MELBOURNE YACHT SQUADRON PERCY DAMMAN MEMORIAL TROPHY ‘OFF THE BEACH BOATS’percy damman, memorial trophy, perpetual

This design of the bottle is sometimes called a ‘cottage’ or ‘boat’ shape. The Caldwell’s handmade glass ink bottle was mouth-blown into a three-piece mould, a method often used in the late 19th and early 20th centuries, with the maker's name engraved into the mould section for the base. The glass blower would cut the bottle off the end of his blowpipe with a tool and join a mouth onto the top, rolling the lip. The bottle was then filled with ink and sealed with a cork. This method of manufacture was more time-consuming and costly to produce than those made in a simple two-piece mould and 'cracked' off the blowpipe. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. This particular bottle is unusual as it has four sloping indents at the corners of the shoulder, most likely for resting a pen with its nib upwards and the handle resting on a flat surface. Most of the bottles made during this era had horizontal pen rests that were indented into both of the long sides of the shoulder. Pen and ink have been in use for handwriting since about the seventh century. A quill pen made from a bird’s feather was used up until around the mid-19th century. In the 1850s a steel point nib for the dip pen was invented and could be manufactured on machines in large quantities. This only held a small amount of ink so users had to frequently dip the nib into an ink well for more ink. Handwriting left wet ink on the paper, so the blotting paper was carefully used to absorb the excess ink and prevent smudging. Ink could be purchased as a ready-to-use liquid or in powdered form, which needed to be mixed with water. In the 1880s a successful, portable fountain pen gave smooth-flowing ink and was easy to use. In the mid-20th century, the modern ballpoint pen was readily available and inexpensive, so the fountain pen lost its popularity. However, artisans continue to use nib pens to create beautiful calligraphy. Caldwell’s Ink Co. – F.R. Caldwell established Caldwell’s Ink Company in Australia around 1902. In Victoria, he operated from a factory at Victoria Avenue, Albert Park, until about 1911, then from Yarra Bank Road in South Melbourne. Newspaper offices were appointed as agencies to sell his inks, for example, in 1904 the New Zealand Evening Star sold Caldwell’s Flo-Eesi blue black ink in various bottle sizes, and Murchison Advocate (Victoria) stocked Caldwell’s ink in crimson, green, blue black, violet, and blue. Caldwell’s ink was stated to be “non-corrosive and unaffected by steel pens”. A motto used in advertising in 1904-1908 reads ‘Makes Writing a Pleasure’. Stationers stocked Caldwell’s products and hawkers sold Caldwell’s ink stands from door to door in Sydney in the 1910s and 1920s. In 1911 Caldwell promised cash for returned ink bottles and warned of prosecution for anyone found refilling his bottles. Caldwell’s Ink Stands were given as gifts. The company encouraged all forms of writing with their Australian-made Flo-Eesi writing inks and bottles at their impressive booth in the ‘All Australian Exhibition’ in 1913. It advertised its other products, which included Caldwell’s Gum, Caldwell’s Stencil Ink (copy ink) and Caldwell’s Quicksticker as well as Caldwell’s ‘Zac’ Cough Mixture. Caldwell stated in a 1920 article that his inks were made from a formula that was over a century old, and were scientifically tested and quality controlled. The formula included gallic and tannic acids and high-quality dyes to ensure that they did not fade. They were “free from all injurious chemicals”. The permanent quality of the ink was important for legal reasons, particularly to banks, accountants, commerce, municipal councils and lawyers. The Caldwell’s Ink Company also exported crates of its ink bottles and ink stands overseas. Newspaper advertisements can be found for Caldwell’s Ink Company up until 1934 when the company said they were the Best in the business for 40 years.This hand-blown bottle is significant for being the only bottle in our collection with the unusual sloping pen rests on its shoulder. It is also significant for being made in a less common three-piece mould. The method of manufacture is representative of a 19th-century handcraft industry that is now been largely replaced by mass production. The bottle is of state significance for being produced by an early Melbourne industry and exported overseas. This ink bottle is historically significant as it represents methods of handwritten communication that were still common up until the mid-20th century when fountain pens and modern ballpoint pens became popular and convenient and typewriters were becoming part of standard office equipment.Ink bottle; rectangular base, hand-blown clear glass bottle with its own cork. The bottle has side seams from the base to the mouth, an indented base and an applied lip. The corners of the shoulder sides have unusual diagonal grooves that slope down and outwards that may have been used as pen rests. Inside the bottle are remnants of dried blue-black ink. The glass has imperfections and some ripples on the surface. The bottle has an attached oval black label label with gold-brown printed text and border. The base has an embossed inscription. The bottles once contained Caldwell’s blend of blue black ink.Printed on label; “CALDWELL's BLUE BLACK INK” Embossed on the base "CALDWELLS"flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, ink, nib pen, writing ink, writing, copying, banks, lawyers, commerce, student, permanent ink, blue black ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, cork seal, f r caldwell, caldwell’s ink company, albert park, south melbourne, inkstands, stencil ink, copy ink, quicksticker, zac cough mixture, three part mould, cauldwells, cauldwell's

This is a shaving mug which, together with shaving cream, hot water, a shaver with a razor blade and a razor strop, were the items used by men to shave faces and/or beards. Today these items have been replaced by the use of an electric razor or a plastic holder containing a razor blade. This item is retained as an attractive example of the mugs used by men for shaving purposes up to the 1950s and 60s. This is a white china shaving mug with a circular base, a handle, a wide-lipped opening and a top bowl with three drainage holes at the bottom. The sides of the mug have coloured painted flowers. On the base of the mug is an article from a newspaper regarding the disappearance of the shaving mug from general use (pasted on) and some handwriting, part of which is indecipherable. The handle and the rims of the mug have originally been gilt-edged. ‘Shaving Mug’ ‘This is quite an antique – used by all the 3 R….’ men’s accessories, warrnambool, history of warrnambool

These two bottles have contained milk sold by the Warrnambool firm of Antarctic Ice Pty Ltd. in the mid 20th century.In the 1930s a pasteurizing plant was set up in Warrnambool in conjunction with an ice works in Kepler Street known as Antarctic Ice (Good and Stevenson). This firm had secured a milk supply from farmers in the Warrnambool region. Eventually Antarctic Ice was bought by the Warrnambool Cheese and Butter Factory and Kraft Foods as equal partners and the milk was marketed as Sungold. Also a farmer named Kaye Ryan had set up a pasteurization plant in East Warrnambool (Raglan Parade/Verdon Street) in opposition to Antarctic Ice and Sungold. Kraft and Warrnambool Cheese and Butter bought out Ryan and moved Sungold operations to the Ryan site. Kraft Foods sold its share of Sungold to Warrnambool Cheese and Butter and in 1989 the milk factory was moved to the Allansford site of Warrnambool Cheese and Butter and Sungold continues there today.These bottles are of interest, firstly as examples of the half-pint milk bottles familiar to people living in the mid 20th century and secondly because they are good examples of the bottles used by an important Warrnambool business, Antarctic Ice. These are two clear glass bottles. When filled each bottle contained 10 fluid ounces or half a pint of milk. The bottles have a round base with a rounded body tapering slightly to a thick neck and a thick moulded top. The bottles when filled had a seal consisting of a circle of waxed cardboard that was pressed into a recess on the lip of the bottle. These lids are missing.The bottles have lettering impressed into the glass. ‘This bottle contains milk bottled for sale by Antarctic Ice Products Pty Ltd Warrnambool and always remains their property. It is loaned and cannot be legally used or sold by others.’ ‘Contents 10 ozs.’ ‘497’ milk production in warrnambool, antarctic ice pty ltd

Soft drink came in bottles bought at the local grocery store or at a larger city store on a shopping expedition. The shape of the bottles changed as did the stopper used to seal it. Bottles were re cycled remaining the property of the manufacturer. The history of Zedmanfg Company, Albury. Historical: Change of bottles - shape, glass, stopper, embossing, use. Aesthetic: Display showing embossing & shape especially if in good condition. Clear glass bottle. Bottom half has straight sides. Upper half tapers to the top where a metal crimp fits over the lip. Manufacturer's name is heavily embossed in cursive script diagonally across the lower half. The place 'Albury' is embossed below the diagonal script, in capital letters.There is heavy embossing at the base and at the bottom of the sides. All in capital letters. It has a crown seal - AGMZedManfg Co. Albury - across the bottom half of the bottle. At the base on the sides around the circumference 'This bottle is the property of the Zedmanfg Co. Albury. On the Base: F1486, GM inside A, M 113 glass, bottle, domestic, household, albury, zedmanfg co., drinks, lemonade

Whisky came in bottles sold at licensed premises either locally or in larger cities visited during shopping expeditions. The shape of bottles varied. Bottles were recycled remaining the property of the manufacturer who paid for their return. History of James Dickson Co. Pty. Ltd.Historical: Change of Bottles - shape, glass, embossing. Collected by bottle collectors. Aesthetic: Display showing embossing and shapeClear glass whisky bottle with heavy embossing on one side where the maker's name and details is printed in capital letters longitudinally. Heavily embossed zig zag pattern at the top of straight sides that go three quarters of the way up. The sides taper to the neck which has straight sides to the screw top opening. The tapered section is grooved with ridges of straight lines to a lip which is between it and the neck. Side (longitudinally): 'This Bottle is the Property of / James Dickson & Co. Pty Ltd / Established 1854 / Melbourne Aust. / And Cannot Be Legally Used By Others' Base: 'A' above 'F892' and 'M' beneath. Reading from the inside of the bottle on the base is 'E41' whisky, bottle, spirit, james dickson co. pty. ltd

Group of four medicine bottles. 00203.1 : Clear glass medicine bottle, rectangular tapered shape with a sheared top. 00203.2 : Pale green clear glass medicine bottle, rectangular tapered shape with a sheared top. 00203.3 : Clear glass medicine bottle, rectangular tapered shape with a sheared top. Cracked. 00203.4 : Clear glass medicine bottle, cylindrical shape, lipped top with cork residue in base.00203.4 : Chinese characters on base.bottle, chinese, medicine, goldfields, buckland valley

This olive green glass bottle has been handmade from about the 1840s to 1870s. The bottle, possibly used to store ale or soda or mineral water, was found in the coastal waters of Victoria. It is part of the John Chance Collection. Glassblowers made bottles like this one by blowing air through a long pipe into the molten glass blob at the end of the pipe. The glass was blown out to fit into the shape of the cylindrical dip mould. Once it hardened, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck while carefully using a tool to hold the base. The base may have been part of the dip mould, otherwise, a 'ponty' tool would have been used to flatten the base. A tool would have been used to cut off the bottle from the blowpipe and a piece of soft glass would be added to the mouth to then formed into the flared collar. Bottles like this would usually be sealed with a cork, which may have been held in place with wax or wire and tape. Although this bottle is not linked to a particular shipwreck, it is recognised as a historically significant example of handmade, 1840s to 1870s beverage bottles imported for use in Colonial Victoria. The bottle is also significant for its association with John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several shipwrecks have since been donated to the Flagstaff Hill Maritime Village’s museum collection by his family, illustrating this item’s level of historical value.Bottle, olive glass, cork-top style. Applied flared lip, slightly bulbous neck with horizontal lines in glass. Shoulder has seam, body tapers inwards towards base. Heel is thick, with concave base, wide inverted pontil, uneven base. Glass has some bubbles, blow lines and imperfections. Sediment inside bottle along one side. Surface of glass is scratched.flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, shipwreck artefact, john chance, glass bottle, antique bottle, handmade, mouth blown, blown bottle, collectable, bottle, dip mould, soda bottle, ale bottle, beverage bottle, olive green glass

Dr. Curt Schimmelbusch (1860-1895), a German physician, designed his original mask around 1889 while an assistant surgeon. Surgical assistants were often assigned the task of delivering the anesthetic. During anesthesia it was not uncommon for ether and chloroform to get onto the patient’s skin, causing irritation. Chloroform can even cause burn-like reactions. Schimmelbusch designed the rim of his mask so that both sides curve away from the patient’s face to form a kind of trough. He intended the trough-like rim to collect excess anesthetic that would otherwise have trickled onto the patient’s face. To anesthetize a patient, gauze was stretched over the metal bars and fastened in place by the hinge. The mask was placed over the patient’s nose and mouth, and the anesthetic was applied in drops or lightly poured onto the gauze so that the patient breathed in evaporated anesthetic as well as air. This type of mask is sometimes still used today for ether anesthesia in developing countries when other means are not available. (Wood Library Museum of Anesthesiology) This particular object is a modified version of Schimmelbusch's design, known as Chadborn's modification.Oval shaped chromium plated mask with two metal strips linked front to back and side to side to create a dome. An oval shaped mobile wire frame is attached to the lower part of the mask by a hinge at the back, approximately two inches from the lip of the metal handle. A "U" shaped bit of metal is attached to the front of the mask which acts as a clip to fasten the wire frame to the lower section of the mask.anaesthesia

Troy ounces are slightly heavier than avoirdupois ounces that we commonly use. 1 troy ounce equals roughly 1 1/8 ounces and is used for the weighing of precious metals and gems. It is believed that the troy ounce dates back to the 16th century to the town of Troyes in Frances. This was a major trading centre for Europe and a standardised for of weights was needed. One troy ounce equalled 480 grains of barley.Four circular Troy weights - three have raised outer edge/lip with weight details imprinted in the centre. Large weight has the number 2 embossed in the middle. Second has the number 1.0 in the middle third has the number 1/2 in the middle. Fourth weight is solid and has a smaller inner circle. All appear to be made out of brass All taper down to smaller base.gold mining, gold mining equipment, gold mining history

Excavated from the back yard of Linton & District Historical Society's resource centre in October 2001.Square, green glass jar with pouring lip. The jar formed part of an early type of electric battery. The battery cell consisted of a jar which held carbon and zinc plates, standing in a solution of ammonium chloride. The chemical reaction between the plates and the solution produced a small electrical charge. This type of battery was used where only a small charge was required, for example in telegraphy, also to operate doorbells etc.In raised glass on side of jar: "PILE" and "Leclanche Indiarubber Co Silvertown".batteries, battery cell jars, electricity generation, leclanche [company]

Following the death of Past Commodore John Crosbie in 1986, his long time friend from College days, Club member George Silley, was left a sum of money with which he was to handle John’s affairs. This George Silley was reluctant to accept, and in turn he offered half each to both R.M.Y.S. and R.B.Y.C. for the purchase of suitable Perpetual Trophies. The conditions agreed upon at R.M.Y.S were:- 1. The trophy to be named ‘Commodore John W. Crosbie Perpetual Trophy’. 2. To be awarded annually for: ‘The Club member of the year for his contribution to the Squadron’s Activities’. 3. Recipients of the Trophy must be nominated and seconded by Members of the Squadron. Selection criteria to be determined by the Committee, Flag Officers and General Committee. On receipt of the Trophy, April 1987, the Squadron then had it suitably engraved to George Silley’s liking by the Squadron’s engraver. In his modesty, for personal reasons, George Silley did not wish to be recognized as the donor. This agreement was not strictly adhered to, as evidenced in Annual Reports for the years 1990 and 1991, both of which rightfully credit G.A. Silley as being the donor. In 1988, for reasons unknown, and contrary to the donor’s conditions agreed upon, a further and as it turned out, erroneous inscription not to George Silley’s liking was added to the Trophy, as above. The first recipient of the Award was Les Williams in season 1986/1987. The award is by nomination from a Proposer and Seconder. General Committee then reviews the nominations received.Deep sectioned silver bowl standing 230mm high to flared lip edge, on thick sectioned stem with annular ring about mid-section, flaring out to shaped, stepped footing. Has large shaped handles, top attachment in form of seahorse heads. Mounted on 85mm high round black base, flaring out to stepped, shaped footing. Silver winners’ inscription band around diameter.Inscription on one side 1987 COMMODORE JOHN W. CROSBIE PERPETUAL TROPHY AWARDED TO THE CLUB MEMBER OF THE YEAR Erroneously added 1988 PRESENTED BY JOHN W. CROSBIE MEMBER ROYAL MELBOURNE YACHT SQUADRON 1934-86 COMMODORE 1970 -72 HONORARY LIFE MEMBERjohn w crosbie, memorial cup, trophy, perpetual

Probably of US origin Can , Meat (Mess Kit), M-1910, M-1918 The older style mess kits had the flat lid that could also be used as a plate. The M-1932 (not unit in our collection) unit had the plate divided into two sections so food could be separated. The folding handle, when closed, fits into the groove formed by the divider. The ring on the plate was moved to the end of the groove so the lip of the handle fits right into it. The M-1932 Meat Can was made of "corrosion resistant" galvanized steel, not aluminium. It used the same WW I style narrow profile steel handle attached by a cast hinge.Oval aluminium mess kit with steel handle which acts as a lid lock when folded. Cover has a mounted bracket for a ring fitting for attachment to belt.Nilmess kit, m-1918, m-1910

The handmade earthenware jar was one of a group of artefacts in the McCulloch Collection that were recovered from the shipwreck Loch Ard. The jar could have been from the ship's cargo or personal effects. There are other jars in our collection that were recovered from the Loch Ard. The object is now one of the shipwreck artefacts in Flagstaff Hill’s Mc Culloch Collection, which includes items recovered from the wrecks of the Victoria Tower (wrecked in 1869) and Loch Ard (wrecked in 1878). They were salvaged by a diver in the early 1970s from the southwest coast of Victoria. Advanced marine technology had enabled divers to explore the depths of the ocean and gather its treasures before protective legislation was introduced by the Government. The artefacts were donated to Queensland’s Department of Environment and Heritage Protection (EHP) by a passionate shipwreck lover and their locations were verified by Bruce McCulloch. In 2017 the Department repatriated them to Flagstaff Hill where they joined our vast collection of artefacts from Victoria’s Shipwreck Coast. The Loch Ard: - The three-masted, square-rigged iron ship Loch Ard belonged to the famous Loch Line which sailed many ships from England to Australia. The ship was built in Glasgow in 1873. The Loch Ard made three trips to Australia and one trip to Calcutta before its final voyage. The Loch Ard left England on March 2, 1878, under the command of Captain Gibbs, bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo included straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that were intended for display in the 1880 Melbourne International Exhibition, including the famous Loch Ard Peacock. On June 1, 1878, Captain Gibbs was expecting to see land but visibility was reduced by fog. As it lifted, the sheer cliffs of Victoria's west coast came much closer than expected. The captain was unable to steer away and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck was loosened from the hull, the masts and rigging came down and knocked passengers and crew overboard, and even the lifeboat crashed into the side of the ship and capsized. Of the 54 people on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael. The well-packed Minton porcelain peacock also survived, safe inside its crate. Much of the cargo was washed up, smashed and broken, and some was salvaged. Other cargo is still with the wreck at the base of Mutton Bird Island, now protected by Government law. The artefact is an example of cargo or personal items on board a ship in 1878. It provides a reference point for classifying and dating similar items. This artefact is significant for its association with the sailing ship Loch Ard, one of the best-known, and one of the worst, shipwrecks in Victoria’s history. 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. It is historically significant for representing aspects of Victoria’s shipping history. Container, round brown earthenware jar with a wide mouth, thick lip, a wide neck that tapers slightly inwards towards the shoulder, and a body that tapers slightly inward towards the base. The glazed surface is rough. The variegated colours of the clay also has small dark speckles. There are several chips and dents on the jar. The inscription is stamped into the lower edge. Made by Bailey & Co., England. Recovered from the wreck of the Loch Ard.Inscription “Bailey [&] Co / ENGLAND” flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, white star line, victorian heritage register, sailing ship loch ard, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, migrant ship 1878, cargo ship 1878, stoneware jar, domestic container, kitchenware, kitchen storage, bailey & co england, shipwreck artefact, wreck dive, mcculloch collection, bruce mcculloch, 1878, sailing ship, earthenware, stoneware, domestic jar

Sauce came in bottles bought at the local grocery store or at a large city store on a shopping expedition. The shape of the bottles changed. Bottles were re cycled remaining the property of the manufacturer. History of W. J. & F. Barnes, Pty. Ltd. Melbourne.Historical: Change of bottles - shape, glass, embossing, use Aesthetic: Display showing embossing and shape Clear glass medium sized bottle. The base is as wide as the top before it tapers into the neck and lip and then the screw top. From the base it tapers in before a very gradual taper to the broad part which is three quarters of the way up. The base is round but the sides have 4 wider 'panels' opposite each other. In between these are 2 smaller panels. Heavy embossing on 1 wider panel and base printed in capital letters.Side: vertically: 'This bottle is the Property of / W. J. & F. Barnes Pty Ltd. Melbourne' Base: Common Seal "A" with 'G' inside the top half and 'M' inside the lower half. Underneath the 'A' and across the middle is 'F1570' and below this is 'M'sauce, glass bottle, w. j. & f. barnes pty ltd melbourne, household

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. 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 two-piece 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 the 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. 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 wine bottle with contents. Glass has ripples, and crease lines and the neck has side seams. The mouth has a seal, the top of which comes away from the rest of the seal. The applied lip is wide. The base has been pushed-up base and has a pontil mark. Handmade with a ridge in the body around the base of the shoulder. The contents have no colour or odour. The bottle has a white sticker.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, antique bottle, bulge neck bottle, handmade, dip mould, mouth blown, pontil base, blown bottle, liquor bottle, ale bottle, black glass, black bottle

Crucibles are used for heating and pouring molten metal. The set of six crucibles was raised from the wreck of the Loch Ard and includes a range of sizes, now in the Flagstaff Hill collection. All were manufactured by the Morgan brothers who founded the Patent Plumbago Crucible Company in 1856, making crucibles in a small factory in Battersea London. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, and abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles this technique was pioneered by the Morgan Bros thereby making a significant technological advance in foundry technology and metallurgy. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm's manufacturing rights and began producing their graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the Loch Ard suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies or at Melbourne's International Exhibition to be held in 1880. A newspaper account of an 1864 tour of the Morgan brothers' 'Black Potteries' at Battersea indicates: "All the pots were numbered according to their contents, each number standing for one kilogram or a little over two pounds; a No. 2 crucible contains two kilograms; a No. 3, three kilograms, and so on." These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size. A brief history of the Loch Ard (1873-1878): - The sailing ship Loch Ard was one of the famous Loch Line of ships that sailed the long voyage from England to Australia. Barclay, Curdle and Co. built the three-masted iron vessel in Glasgow in 1873. It had sailed three trips to Australia and one trip to Calcutta before its fateful voyage. Loch Ard left England on March 2, 1878, under the command of recently married, 29-year-old Captain Gibbs. It was bound for Melbourne with a crew of 37, plus 17 passengers. The general cargo reflected the affluence of Melbourne at the time. Onboard were straw hats, umbrellas, perfumes, clay pipes, pianos, clocks, confectionery, linen and candles, and a heavier load of railway irons, cement, lead and copper. Other cargo included items intended for display in the Melbourne International Exhibition of 1880. The Loch Ard had been sailing for three months and was close to its destination on June 1, 1878. Captain Gibbs had expected to see land at about 3 am but the Loch Ard ran into a fog that greatly reduced visibility and there was no sign of land or the Cape Otway lighthouse. The fog lifted at 4 am and the sheer cliffs of Victoria's west coast were much closer to them than Captain Gibbs expected. He tried to manage the vessel but failed and the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. The top deck loosened from the hull, and the masts and rigging crashed down, knocking passengers and crew overboard. The lifeboat was launched by Tom Pearce but crashed into the side of Loch Ard and capsized. He clung onto its overturned hull and sheltered under it. He drifted out to sea and the tide brought him back to what is now called Loch Ard Gorge. He swam to shore and found a cave for shelter. A passenger, Eva Carmichael, had raced onto the deck to find out what was happening and was confronted by towering cliffs above the ship. She was soon swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He swam out and dragged her to the shelter of the cave. He revived her with a bottle of brandy from a case that had washed up on the beach. Tom scaled a cliff in search of help and followed some horse hoof prints. He came from two men from Glenample Station, three and a half miles away. He told the men of the tragedy and then returned to the gorge while the two men rode back to the station to get help. They reached Loch Ard Gorge and took the two shipwreck survivors to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome and was presented with a medal and some money. 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 her family in the tragedy. The shipwreck of the Loch Ard 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 accumulation of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collection's objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.This crucible is the smallest of three nested crucibles, or fluxing pots, numbered according to their size. These containers rise slightly from a smaller flat base to a wider open top with a lip for pouring. They were recovered from the wreck of the Loch Ard. The crucibles have a coating of sediment that obscures some of their numerical specifications of size and capacity. Made by the Patent Plumbago Crucible Company at the Battersea Works in London. The number on this crucible is obscured by the sticker.Stamped into side "MORGAN'S PATENT" Stemped into base "MORGAN'S PATENT" "THE PATENT PLUMBAGO CRUCIBLE COMPANY" Sticker "L 96"flagstaff hill, warrnambool, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, morgan potteries, crucible, fluxing pot, nested crucibles, heat proof container, metal worker, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, morgans crucible company, flagstaff hill maritime museum and village, fluxing pots, morgan’s patent, morgan brothers, patent plumbago crucible co, battersea works, london, loch ard gorge, port campbell

The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Hand painted brown paper mache head with red lips, blue eyes and black eyebrows. Wearing a blue and white check hat and matching top over a green and red top, skirt and trousers. Long sleeves have a white trim. He has a white frilled neck ruff. The legs are only material at top with wooden boots painted black. There is no body parts. He is wearing a loose leather belt.pow puppets, pow handcrafts, hand puppets, sharon lohe, ww2 camp puppet theatre, puppetry

Else Oertel and her daughter Else-Lore were interned in Camp 3A from 1940. Her husband was not interned as he was on a business trip to Germany when war broke out. The doll, named Karl by Else-Lore, was hand-carved by internee Alfons Koenig. Friedel Dehnel "Tante Fiffi" made the authentic Bavarian clothes. Friedel, wife of Walter Dehnel, arrived as a young woman from Austria, working in the Victorian snowfields as a chef and was a champion skier. She then became a dressmaker for Melbourne society and insisted that she be interned to be with her husband. She made costumes for the internment camp plays and took over her husband's duties as a cook for Camp A when he was locked up for "insubordination". She was deported with her husband back to Germany after the war and cared for her orphaned nephews and nieces in Garmisch-Partenkirchen. Body, head, arms and legs carved from wood. Blue eyes, yellow hair, pink lips and skin all hand painted. Wearing a grey crochet hat with orange feather and grey crochet jacket with two metal buttons. Jacket and hat have green trim. Grey felt shorts with leather braces and green trim. White shirt and tan color tie. White socks and brown leather sandals.doll, alfons koenig, camp 3, internee, oertel family, else oertel, friedel dehnel, else-lore hukins, dressmaker, costumes, plays, chef

This cast iron "boiler" was produced by one of the largest foundries in England during the late 1700's and onwards. These products were "shipped to the far realms of the "British Empire". This source was one of the only ones available to the early settlers in Australia until the mid 1900's. The catch cry of those "early " times was "the best of British" which was ingrained into the early (Australian) settler's iron and cast iron purchasing mind set. It was not until after World War II did that mindset change, when both American and Asian based manufacturers' products were accepted by the Australian consumer. The city based consumer embraced the swing a lot earlier than the more "traditional" rural consumer. This cast iron 8 gallon "boiler" is very significant to the Kiewa Valley not only that large "boilers" were used to "boil" clothes clean, over an open flame source, but also because it demonstrates one of the most important "rural" mores founded by the "early" settlers in this region. That more was the very "close" tie to "Mother England" and the "establishment". The social and "family" values from the "English" way of life was ingrained until well past the day of the "Australian Federation". It was not until the friendly "American soldier" invasion during World War II that the "Empire" bondage was being eroded away. The transition from the good "rural war cry" of "Australia prospers off the sheep's back" was slipping away and the industrial monolith started its challenge. This change was the slowest in semi remote rural centres such as the Kiewa Valley. The "old English" values lingered on until the mid 1900's.This large (8 gallons) cast iron boiler is oval in shape and has a cast iron (swivel) carrying handle. The handle has a "bend" in the centre position to allow hook and straight type rods to facilitate the positioning of a "hot" boiler. This boiler would have been used over an open fire or placed on top of "coals". On the top rim and evenly spaced between the fixed handle joins is a slightly semi curved balancing/control lip.At the bottom (underneath) "CLARK & Co. PATENT", Below this a six star triangle with the letter "C" in the middle.. On the opposite end "BEST QUALITY" and underneath "8 Gall s"camp fire cooking utensils, hot plate, cast iron cooking and boiling appliance, drovers kitchen

This crucible was raised from the wreck of the Loch Ard. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All were manufactured by the Morgan brothers who founded the Patent Plumbago Crucible Company in 1856, making crucibles in a small factory in Battersea London. A crucible is a container used for purifying and melting metals so that they can be cast in a mold to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles this technique was pioneered by the Morgan Bros thereby making a significant technological advance in foundry technology and metallurgy. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially, they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm's manufacturing rights and began producing their graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the Loch Ard suggests they may have been part of a sample shipment intended for similar promotion in the Australian colonies or at Melbourne's International Exhibition to be held in 1880. A newspaper account of an 1864 tour of the Morgan brothers' 'Black Potteries' at Battersea indicates: "All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilograms; a No. 3, three kilograms, and so on." These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six is of the same size. (For more information on the Loch Ard wreck see note sec this document) The shipwreck of the Loch Ard 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 accumulation of artefacts from this notable Victorian shipwreck of which the crucible is a small part. The collections objects give us a snapshot of how we can interpret the story of this tragic event. The collection is also archaeologically significant as it represents aspects of Victoria's shipping history that allows us to interpret Victoria's social and historical themes of the time. Through is associated with the worst and best-known shipwreck in Victoria's history.A medium size crucible, or fluxing pot, for heating and pouring molten metal. The container rises in a slight curve from a smaller flat base to a wider open top with a lip for pouring. It was recovered from the wreck of the LOCH ARD. The crucible has a coating of sediment that obscures its numerical specifications of size and capacity. The markings that remain visible indicate it is a Morgan’s crucible, made with graphite to prevent cracking and provide a smooth non-adhesive inner surface. .On base: “…ORGAN’S …ENT”flagstaff hill, warrnambool, flagstaff-hill-maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, morgan potteries, crucible, fluxing pot

This kiln glazed container for liquid's, was the type used in the 1700's to mid 1900's to contain fluids mainly for human consumption which needed to retain liquid that could be affected by sunlight and or required to be maintained at a cooler temperatures. Ginger beer and other "brews" for human consumption were the prime target. The ability to refill these vessels were of the utmost importance to the consumer. Over time these containers were reduced in size and produced for "special" liquids e.g. alcoholic Port. This Demi John stone ware was manufactured in Tamworth (England) and imported into Australia during a period when the majority of "quality" domestic items were sourced from "the Mother Country" and the ties between the still "colonial" outpost were very strong. This bondage remained longer in rural communities than in the cities. The "multi-culturalism of the post World War II era resulted in the lessening of the earlier ties. The growing of nationalism, the Aussie evolution, was brought about by the increased social and business/commercial interactions between Australia and the United States of America, post World War II.This container(jug) is very significant to the Kiewa Valley, a rural region that required these type of liquid storage vessels, especially in the late 1800's to the mid 1900's. These were times when household refrigeration, if available, would be from the "block ice" coolers or "cool" storage nooks and crannies within farmhouse locations.This large "stone ware" glazed Demi John, alias Carboy has a capacity of over 20 litres. It has a conical smooth lipped neck top with a wide, flat(three to four finger) carry and poring handle. The top third portion of the jug is caramel in colour and the bottom a darker cream. It has a manufacturer's seal stamped into the surface before glazing. This item would have been corked and then sealed (air tight) with wax.manufacturer's seal "GEORGE SKEY WILNECOTE TAMWORTH"household liquid jar container, 1800's food storage, kiln fired glazed pottery

This particular small ice chest was once part of the domestic furniture of Dr W.R. Angus and his young family in 1927 when they lived in the Nhill and Ballarat districts. The family relocated to Warrnambool in 1939 and brought the ice chest with them. An ice chest, also called an icebox or refrigerator, was invented by Thomas Moore in 1802 and had become a common home appliance from the mid-1800s until around the 1930s, when electric refrigerators became affordable and safe. The non-mechanical ice chest allowed perishable food to be kept fresh for longer than the food-safe or ‘Coolgardie’ used in colonial days in Australia. It required the use of ice blocks, which were delivered to households by the ‘iceman' and his horse and cart. The ice man would use an ice pick to cut the blocks into the right size for the buyer’s ice chest. The ice came from an ‘ice house’, a factory where the ice was made. The ice chest required a block of ice to be placed into the insulated top section on top of the corrugated iron stand. The ice would cool the air and the cool air would flow downwards through the oval hole under the stand and into the refrigerator compartment below. The water from the melted ice would drain from the sloping floor of the top compartment and into the hooded pipe. The pipe went through the refrigerator and ended below its floor, where the drained water would be collected in the metal bowl placed there for that purpose. The lip on the bowl allowed it to be easily removed and emptied at regular intervals before it overflowed. W.R. Angus Collection- The W R Angus Collection spans from 1885 to the mid-1900s and includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. He and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Dr Angus and his wife were very involved in the local community, including the early planning stages of the new Flagstaff Hill, where they contributed to the layout of the gardens. Dr Angus passed away in March 1970.This ice chest is significant for representing a method of refrigeration and food preservation used in the 19th to mid-20th centuries when people were beginning to afford powered domestic refrigerators. After the second world war, most households replaced their food storage cupboards and ice chests with refrigerator appliances. The ice chest is also significant for its connection with the domestic furniture of Dr W.R. Angus and his family, and its inclusion in the W.R. Angus Collection.Ice chest; single front wooden cabinet with two doors and a flap, and three accessories. The top door is a lid with a metal handle at the front and two metal hinges along the back. The front door has two metal hinges on the right-hand side and has a metal lever catch. A hinged flap fits between the front legs at bottom of the ice chest and swings upwards. The front legs have wheels. The insulated top compartment has a metal lining and its floor slopes towards the centre of the back wall. In the floor are a formed oval air-flow hole and the open end of a pipe that has a hood partly covering it. The front compartment is an insulated metal-lined cupboard with a vertical pipe down the centre of the back wall and horizontal rails in the centre of each side wall. The accessories are a rectangular corrugated iron stand, a rectangular wire grid shelf and a round aluminium bowl with a lip and two sides pushed in. The ice chest was made circa 1927 and is part of the W.R. Angus Collection.flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, dr w r angus, dr roy angus, dr ryan, doctor angus, dr angus, ice chest, ice box, antique, food preservation, refrigeration, domestic equipment, kitchen appliance, refrigerator, non-electric refrigerator, non-mechanical refrigerator, w.r. angus collection

Bogong Hotel at Tawonga. See KVHS 0965, KVHS 0991 - KVHS 0993 inclusive.Bogong Hotel an important social icon for Kiewa Valley farmers, visitors, and KHES workers. The Bogong Hotel was 125 years old when it was burnt down in December 2011.1. 2 small china cups- white with black and green lines around the top and 'Bogong Hotel' logo 2. 2. glass cups with a handle. Glass is smooth on outside and has vertical 'waves' on inside 3. 1 small glass jug with handle and pouring lip. It has 5 rings of embossed glass around it 4. 1 burnt fire valve handle - T shaped for attaching to a surface 5. burnt bottle topbogong hotel, tawonga, crockery, fire at bogong hotel

This crucible was raised from the wreck of the LOCH ARD. It is one of six similar relics, in a range of sizes, now in the Flagstaff Hill collection. All bear markings to indicate their manufacture by the Morgan brothers of Battersea, trading as the Patent Plumbago Crucible Co. A crucible is a container used for purifying and melting metals so that they can be cast in a mould to a predetermined shape and use. They must withstand extremely high temperatures, abrupt cooling, and shed their contents with minimal adherence. The addition of graphite to the traditional firing clays greatly enhanced the durability of industrial crucibles in mid-Victorian Britain, a significant technological advance at a time of great activity and expansion in foundries and demand for refined metals. The Morgans first noticed the advantages of graphite crucibles at the Great Exhibition held in London in 1851. Initially they contracted to be sole selling agents for the American-made products of Joseph Dixon and Co. from New Jersey, but in 1856 they obtained that firm’s manufacturing rights and began producing their own graphite crucibles from the South London site. The Morgans imported crystalline graphite in 4-5 cwt casks from the British colony of Ceylon (now Sri Lanka) and mixed it with conventional English (Stourbridge) clays to be fired in kilns. Their products were purchased by the Royal Mints in London and India, and exported to official mints in France and Germany. They were successful exhibitors of their crucibles and furnaces at the London Exhibition held in 1861 (Class 1, Mining, quarrying, metallurgy and mineral products, Exhibit 265, Patent Plumbago Crucible Co). The range of sizes represented by the six crucibles retrieved from the LOCH ARD, suggest they may have been part of a sample shipment intended for similar promotion in the Australian colonies ― at Melbourne’s International Exhibition to be held in 1880. A summary of the LOCH ARD cargo manifest, by Don Charlwood in ‘Wrecks and Reputations’ does not mention any crucibles, implying that they were not part of a larger consignment of uniform items. A newspaper account of an 1864 tour of the Morgan brothers’ ‘Black Potteries’ at Battersea indicates: “All the pots were numbered according to their contents, each number standing for one kilogram, or a little over two pounds; a No. 2 crucible contains two kilogrammes; a No. 3, three kilogrammes, and so on.” These numbers are obscured by marine sediment on three of the crucibles in the Flagstaff Hill collection, but those legible on the remaining three are 5, 6, and 8. None of the six are of the same size from a visual appraisal. The shipwreck of the LOCH ARD is of State significance ― Victorian Heritage Register S417A No. 6 size Morgan’s graphite crucible (i.e. 6kgs capacity). The crucible rises in a slight curve from a smaller flat base up to a wider top with a (chipped) pouring lip. It was recovered from the wreck of the LOCH ARD. The artefact is largely accretion free despite its long period of submersion at the wreck site. It has a number of visible maker’s markings which identify the manufacturer and the smelting capacity of the pot. The graphite crucible is in fair and stable condition. The number “6” which is framed in a square. The letters “THE PATENT PLUMBAGO CRUCIBLE COMPANY” and “BATTERSEA WORKS COMPANY”. Below rim "... GNS"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, graphite crucible, plumbago crucible, morgan's crucible company, loch ard, crucible, fluxing pot

Spirits came in bottles sold at licensed premises either locally or in larger cities visited during a shopping expedition. The shape of bottles varied and were re cycled remaining the property of the manufacturer who paid for their return. History of Thomas Hardy & Sons Pty Ltd.Historical: Change of bottles - shape, glass, embossing. Collected by bottle collectors. Aesthetic: Display showing embossing and shape. Clear dark brown glass bottle used for storing whisky or rum. the base is oval shaped. The sides are straight three quarters of the way up then tapers quickly to the neck and then a lip near the opening. the fort & back sides have smooth rectangular shapes bordered by heavy embossing of grapes. On the sides heavy embossing of horizontal ripples. embossed front and back print at bottom and at base. Strip of metal around the bottle at the top of the neck (remainder of the seal).Base, front and back sides: 'This Bottle is the Property of / Thos Hardy & Sons Pty Ltd'glass bottle, whisky, rum, spirits, thomas hardy & sons pty. ltd

Henry Southby pre WW1 served 5 years in the Militia and 22 years on the Permanent staff. He is listed as No 2240 serving in the 4th Batt Aust Commonwealth Horse during the Boer War from March to September 1902. By the time he enlisted in the AIF he was 41 years 2 months of age on 22.3.16 with the rank of Lieut in the 39th Batt. Embarked for England 27.5.16, embark for France 23.11.16, promoted Captain 23.4.17, WIA 7.6.17 shell wound to back, return to France 30.7.17, KIA 12.10.17 at Passchendaele. It is believed he was W.I.A and while being carried out by Stretcher Bearers a shell burst killing them all. No known grave. The plaque was one of many that were placed on trees in Condon St. Bendigo as a memorial to those who lost their lives. Refer 1903.2, 1905P.Bronze plaque set in a wood frame re; H.SOUTHBY. Frame is brown, the plaque lettering is raised."CAPTAIN H. SOUTHBY 39th BATT. 10th INF. BGD. A.I.F KILLED IN ACTION OCTOBER 12th 1917"civic mementoes - plaques, handcrafts - woodwork, military history, southby