Fine white cotton, embroidered cotton. Cap type shoulder/sleeve.Totally embroidered. Yoke has Vshaped panel of finely embroidered cotton, edged with a cotton panel, edged in fine embroidery. These strips are repeated down the long organdie skirt. A deep panel of embroidered cotton organdie type fabric reaches from the hemline to the yoke. Handsewn, extremely fine seams. White cotton tape tie at back neckline, and back yoke. Garments from the Executor of Estate of late Frieda Kahland. See also 11400.122, 11400.363, 11400.364, 11400.365.costume, children's, babies christening gown

Clothing. Long- sleeved grey cotton wind-cheater, with a printed blue. yellow and black,shield-shaped logo on the front, featuring the caricature of an emu's head and the words, ''The Celebrated Emu Creek Bush Band''. Long sleeves with a 4 cm deep cuff,high round neckline with a 3 cm deep neckband, 7 cm deep splits at the hemline of each side seam, and a 4 cm deep cuff, at the lower edge of the set-in sleeves.Worn by Peter Ellis, OAM, founder and leader of the celebrated Emu Creek Bush Band, circa 1990's.JEANS PLUS, Made in China. 100% cotton, and washing instructions.costume, male uniform, civilian, wind-cheater

Fine smooth black silk. Brim bound with black fabric. Side edges of brim rolled inwards. A 4cm wide felt band runs around the base of the crown. Underside of brim lined with black fabric. A 6.5cm wide band of cream leather lines the crown. A fine one cm wide silk ribbon bow finishes the seam of the leather. Upper part of crown is lined with cream silk. Marking on leather band ;W2637, also written in biro RHSV. In hat box 11400.835, packed in Clothing Box 158.HILHOLISE & Co, Hat and Cap Makers, 11,New Bond Street, London.costume, male, man's silk top hat

Blue linen ladies blouse. Fold over collar (7cms). Cap sleeves. Front made from two pieces. Each side has two 20 cm darts from hemline plus dart at bustline. Back made from one piece with four 20 cm darts from hemline plus a 13 cm dart from each shoulder seam. Front opening has six blue pearl shaped buttons in three groups of two with button holes, plus a press-stud 15.5 cm above lower hem.Label inside back neckline ''SPORTIER'' Regd. Scostume, female, ladies blue linen blouse

The donor's husband's grandmother was Bertha Michaelis who lived at 'Linden', St Kilda. She married David Jacob Baruch (known as Dalbert) in Hamburg on 9 November 1881. Bertha was born in Melbourne. The couple lived in Germany. Bertha returned to Melbourne with their two children, Ernest and May, after Dalbert died in 1893. May married Rabbi Jacob Danglow in 1909 and they had one son, Frank, who was the donor's husband.Cream satin princess line wedding dress with dark cream lace trim. Fastens centre front with 17 satin covered buttons. Nine extant bones are placed on the interior seams and darts. Three-quarter length fitted sleeves. Bodice backed with cream cotton. The back trained panels of the skirt have been cut to extend into a pleated swathe of satin that wraps around the hips to the centre front. A square padded bustle pad is attached to the interior back of the skirt. The hem of the skirt is decorated with kilted and swathed satin and lace. Label, interior waist tape, woven silk stamped in dark green: H. L. HEYNEMANN / Hannover / Seilwinderstr. 6a., Bose; In monogrammed ("HLH") circles either side: (Left) BAARZAHLUNGS SYSTEM; (Right) ERSTE PREISE. Stitched in thick cotton thread on interior waist tape: *9097wedding dress, germany, hannover, linden, st kilda, bertha michaelis, david jacob baruch

This dress was worn by Matilda Kinross McDonald, nee Herd (1871-1943) for her wedding to George William Mitchell McDonald in Geelong in 1892. Two-piece wedding dress comprising separate bodice (.1) and skirt (.2) made of figured coffee-coloured silk woven with large sprays of foliage and berries. The front of the bodice is decorated with a cream-coloured hand-made lace. The bodice is cut asymmetrically, with the front panel wrapping over to the left proper side seam. The fitted sleeves are cut with fullness in the head and narrowing at the elbow and wrist in a leg-of-mutton style. The bodice is backed with a dark brown glazed cotton and has 13 bones. The skirt is backed with a coffee-coloured cotton. wedding dress, geelong, matilda kinross herd, george william mitchell mcdonald, 1890s

Belonged to donor's aunt1960s navy blue fine silk shantung fabric dress with lace bodice and elbow length sleeves. Metal zip, hook& eye down back. A-line skirt with two front seams and pockets. Dress is below the knee length. Lined from above bust line in bodice with fine blue crepe fabric. Matching jacket of fine silk shantung with lace trim on collar& cuffs of full-length sleeves. Self-covered shantung 4 buttons and stitched buttonholes. La Petite label in jacket and underarm on dress.La Petite Model Frocks, 165 Collins St Melbourne.la petite

Whitehorse: Down to business. City of Whitehorse [1998?]city of whitehorse, commercial development, musgrave, elizabeth, livesay, peta, anderson, richard, buckingham, helen, keating, peter, bromley, jean, seamer, peter

Long sleeved full length dress of black synthetic silk fabric. Fabric has silken feel with a smooth satin like backing. Front has U shaped neckline with panel of cream silk lace extending from shoulder to below neckline(28cm). Back neckline faced with lace fabric. Front and back have a narrow central panel(16cm) of fabric extending from shoulders to hemline. The panels are extended at the waistline to join the front and back with loose tabs.The centre panel on the front bodice is edged with a finely pleated frill of synthetic fabric. The centre panels at front and back are also edged with finely pleated frills, from 42cms above hemline to the hem. The bodice is completed with side panels attached to the centre panel The skirt is completed with side panels attached to the centre panels. Set in sleeves have a squared extension that extends to the elbow. From the elbow the sleeves taper to narrow fitting at the wrist. The upper seam of the sleeves from the elbow to the wrist are edged with a finely pleated frill of synthetic fabric. The upper seam of each sleeve from elbow to wrist have fifteen decorative back and gold buttons stitched along the lower edge of the frill. Dress is unlinedcostume, female, black synthetic silk dress

Part of the Wagga collection. Maker unknown, c. early 1940s. Possibly from South Australia. This 'travelling rug' was found in an opportunity shop in Campbell's Creek near Castlemaine in Victoria. Unfortunately, nothing is known about the maker but it could be surmised that the quilt had many uses. It is heavy and designed for warmth, lined with a woollen blanket and hessian. Its size suggests usage in an open buggy or car when travelling or as a picnic rug along the way. The sturdy canvas backing is of the type commonly used for awnings, chair coverings or tent cloth. The quality of the green velvet made it ideal for further use as a quilt after the original use as an overcoat or smoking jacket for either a man or a woman. Apart from the original machine stitched seams in the garment, it is sewn together by hand using herringbone stitch. It is not known if this quilt was designed to be used with a cover. However, the arrangement of pieces in the garment to create a shape with straight edges may suggest that this may have been a consideration.Travelling rug made of wool, cotton and green velvet.No. 27 "Travelling rug" Maker Unknown Running Stitch Collection...quilting history, handicrafts, running stitch group, blankets, running stitch collection, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), quilting - history

Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland.Cream silk child's dress. Elbow-length gathered sleeves with smocking at wrists. 2-panels of hand crocheted lace forming a 3-panel yoke with central insert of cream embroidery. Full-length dress in silk with two rows of smocking on bodice. At base of dress are two panels of 6 rows of pin-tucking, separated panel of lace over silk backing. Lace at neck. Opening in centre back with 7 button holes and 5 mother-of-pearl buttons with striution carved design. Cream satin ribbon runs under smocking at back and sewn into side seams.clothing, costume, dress, 1900s

This set of kitchen dry food canisters is made of metal; each container has a different height, width and capacity. The rolled thin metal has created a strong, round design with decorative rings on the circumference. The base and close-fitting lid protect the contents from vermin and most insects, and the handle on top aids in the removal of the lid. Metal containers like these are reusable and can be re-purposed, which is advantageous when living in regional or rural areas. The type of manufacture indicates that the set was made in the late 19th to early 20th century. Gradually, colourful and attractive plastic kitchenware began to replace metalware. One of the canisters is labelled 'coffee'; coffee plants and seeds were transported from Brazil into Australia in 1788 when the First Fleet arrived although their growth was unsuccessful. However, by the 1920s, a tenth of the Australian population was drinking readily stored coffee. Large quantities of harvested grains such as maize, wheat and barley were protected from pests by being stored in airy buildings, often raised from the ground. This was an age-old practice used by civilizations such as the ancient Egyptians and early Hebrews. Smaller quantities of food for short-term use in the homes were stored in woven baskets or clay pots.This set of kitchen food containers is an example of colonial food storage used in a domestic setting to store and preserve dry ingredients. These canisters give a snapshot of early domestic life in Australia. Canister set; four cylindrical cream coloured metal canisters with domed lids that have lift-up handles on top. They are made from rolled metal and the bases and lids have a side seam. Each canister is a different size and displays a label for different contents. The adhesive labels are vertical, and a gold colour with black vertical text. The cream paint has brush strokes and small areas have exposed green paint under the cream. The insides of the bases are painted dark grey but the lids have no paint underneath. The empty canisters can fit one inside the other. Labels, in descending order: "FLOUR" "RICE" "SAGO" "COFFEE"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, canister set, kitchen storage, food storage, metal canisters, dry food storage, food packaging, kitchen container, vintage, flour, rice, sago, coffee, kitchenalia, late 19th to early 20th centuries, nesting canisters

This small green bottle has been handmade by a glassblower and is the typical shape of a carbonated soda or mineral water bottle. It was made from 1840s-1870s. The bottle was found in the coastal waters of Victoria about 100 years from when it was made. It is part of the John Chance Collection. Glassblowers made bottles like this one by blowing air through a long pipe and into molten glass at the end of it. The shape of the glass would be blown out to fit into the shape of the cylindrical dip mould. Once it set, the glass was removed from the mould and the glassblower would continue using the pipe to create the neck and another ponty tool to push up and form the base. The bottle would be cracked off the end of the glassblower’s pipe and a blob of molten glass would be wrapped around the top of the neck and shaped to finish the lip of the bottle. The seal was usually a cork, held in place with a ball-wire fitting attached between the upper and lower parts of the neck finish. This style of handmade bottles usually had thick glass so that it could be heat-sterilised, then re-filled. The bottles would often have horizontal bubbles in the applied finish, caused by twisting the glass, and vertical bubbles and diagonal lines in the body from it being blown, and a pontil mark in the base where the ponty tool had been attached. Although the bottle is not linked to a particular shipwreck, it is recognised as being historically significant as an example of bottles imported for use in Colonial Victoria in the mid-to-late 1800s. The bottle is also significant as it was recovered by John Chance, a diver in Victoria’s coastal waters in the late 1960s to early 1970s. Items that come from several wrecks 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; green glass, soda or mineral water style, handmade. Applied finish, blob double ring collar; upper is wide and rounded, lower is a narrow ring. Diagonal lines in glass on neck and shoulder. Low shoulder mould seam. Body is matt with ripples in glass, tapers inward towards base. Shoulder and neck are shiny. Push-up base with pontil mark, visible through glass. Marks on heel. Uneven base. Bubble on side and top of lip. Sediment on inside surfaces. Two score lines, one half way down body, one near base. 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, dip mould, mouth blown, pontil mark, 19th century bottle, collectable, soda bottle, mineral water bottle, green glass, blob finish, push-up base

This horse-drawn, two-wheeled cart with a tank, is known as a Furphy Farm Water Cart that was made in Shepparton, northern Victoria, c. 1942. John Furphy (1842-1920) was born in Moonee Ponds, in 1842 to Irish immigrant parents and subsequently raised in the Yarra Valley before the family moved to Kyneton in central Victoria, where he completed an apprenticeship with the firm Hutcheson and Walker. Murphy began operations of his own at a site on Piper Street in Kyneton in 1864. He relocated for a business opportunity and founded the first blacksmiths and wheelwrights shop in the newly surveyed town of Shepparton in 1873. Furphy invented many farming tools and machines including a patented grain-stripper, and won awards at the 1888-89 Melbourne International Exhibition. His most famous invention is the Furphy Farm Water Cart, designed in the 1880s, at a time when water for most households and farms was carted on wagons in wooden barrels. The Furphy’s water cart is a single item that combines a water metal tank and a cart. The design of the cart was simple yet effective, and became popular very quickly and established itself as a vital piece of farming equipment. The water cart has had a number of words cast into its ends over many years. References to the foundry’s location in Shepparton, as well as advertising of other products also manufactured by J. Furphy & Sons were present on the ends. However, the most significant set of words to feature on the tank, was a poem encouraging continual improvement: ‘Good Better Best, Never Let it Rest, Until your Good is Better, And your Better Best’. During The Great War (1914-1918), the water cart was used by the Australian militarily at a large AIF (Australian Imperial Force) camp in Broadmeadows (Melbourne) where thousands of men were camped for months, before being transported aboard. Furphy Water Carts provided water to the troops, and were usually placed near the camp latrines, which was one of the few places the troops could share gossip and tall tales away from the prying eyes and ears of their officers. The water cart drivers were also notorious sources of information, despite most of their news being hearsay, or totally unreliable. By the time the men of the AIF were in engaged in combat on the Gallipoli Peninsula and the Western Front, the carts used for water supply had no markings and became simply referred to as Furphys. This owed as much to the coining of the term ‘Furphy’, Australian slang for suspect information or rumour. After a number of decades as principally a soldier’s word, 'Furphy' entered the broader Australian vernacular and was used mainly by the political class until recently when the term was taken up by a Australian brewer as a beer brand. This Furphy Water Cart was purchased by Friends of Flagstaff Hill in 2014. The support of local individuals, organisations and businesses enabled its restoration and later its installation alongside the existing late-19th century water pipe stand and 1940s hand pump The Furphy Farm Water Cart is of historical significance as it represents a famous Australian time-saving and energy-saving invention of the 1880s, replacing the labour intensive activity of collecting and dispensing water from barrels and casks on the back of carts. The water cart’s connection with manufacturing companies J. Furphy & Sons and Furphy Foundry are significant for being early Australian businesses that are still in operation today. Furphy carts are of military significance for the role they played during The Great War (1914-1918) in Australian army camps, and theatres of war in Europe and the Middle East, to supply the AIF troops with fresh water. A wooden framed, two-wheeled, horse-drawn cart, fitted with a horizontally mounted, cylindrical metal tank. The tank is made of rolled, sheet steel with a riveted seam, and cast iron ends with cast iron ends. The spoked metal wheels have fitted flat iron tyres and metal hubs. A metal pipe is joined to the outlet. The tank is silver coloured, the ends, wheels and trims are crimson, and the script lettering on tank sides is black. There are inscriptions on the tank, ends, and hubs. The water tank was made in 1942 in Shepparton, Australia, by J. Furphy & Sons and has a capacity of 180 gallons (848 litres). Hub perimeter, embossed “J. FURPHY & SONS” “KEEP THE / BOLTS TIGHT” Hub centre embossed [indecipherable] Tank, each side, painted “J. FURPHY & SONS / Makers / SHEPPARTON” Tank ends, embossed – “FURPHY’S FARM WATER CART” “BORN ABOUT 1880 – STILL ‘GOING STRONG’ 1942” “j. FURPHY & SONS / MAKERS / SHEPPARTON - VIC “ “S - - - - - L MANUFACTURERS” [SPECIAL] “SPIKE ROLLERS” “SINGLE TREES” “PLOUGH WHEELS” “IRON CASTINGS” “LAND GRADERS” “STEEL DELVERS” “CAST IRON PIG” “CHAIN YOKES” “GOOD – BETTER – BEST / NEVER LET IT REST / TILL YOUR GOOD IS BETTER / AND YOUR BETTER – BEST” Image [Stork carrying a baby] above shorthand, transcribed "Produce and populate or perish" Image [Furphy Pig Feeder] beside ‘Cast Iron Pig’ Shorthand, transcribed “"Water is the gift of God but beer and whiskey are concoctions of the Devil, come and have a drink of water"warrnambool, flagstaff hill maritime museum, water cart, furphy cart, furphy tank, furphy farm water cart, furphy, john furphy, john furphy & sons, furphy foundry, kyneton, shepparton, mobile water tank, jinker, hutchinson & walker, blacksmith, farm equipment, implement maker, tool maker, horse drawn, stork and baby, good, better, best, barrel, tank, first world war, wwi, eastern front, gallipoli, j furphy & sons

This glass jar once contained Australian-made Nestle’s Malted Milk. The jar carries the company’s familiar logo. This jar would have originally had a screw-top metal lid. The large jar may have been used in a canteen, hospitality business or hospital due to its capacity. The jar was owned by Dr W.R. Angus, surgeon and oculist, who lived in Warrnambool with his wife and growing family for over thirty years. It may have been purchased from the Nestle factory in nearby Dennington. The jar was donated by his family and is part of the W.R Angus Collection. Nestles Malted Milk powder is usually added to either hot or cold milk as a nutritious drink supplement. The powder is a combination of evaporated whole milk powder, malted barley and wheat flour. Nestle began in 1867 and its products were available in Australia since the 1880s. Australia had become Nestle’s second-largest export market by 1906 and by 1908 Nestle had set up business in Australia. The Nestle factory in Dennington, Warrnambool, opened in 1911 and was the world’s largest condensed milk plant. For over 100 years the factory produced dried milk powder from the produce of local dairy farmers. It was a major employer for the district until an announcement was made on May 2019 by its recent owner Fonterra that it was closing its Dennington site for financial reasons. This Nestle Malted Milk jar is connected to the history of Warrnambool, as it was owned by the daughter of Dr W. R. Angus and his wife Gladys. It is part of the W.R. Angus Collection, which is notable for still being located at the site connected to Doctor Angus, Warrnambool’s last Port Medical Officer. It is also connected through its manufacturer Nestle. which had a branch in Warrnambool from 1911 to 2019, overlapping the time when the Angus family resided there, from 1939 to the 1970s. The jar is also significant as an example of the early-20th-century food found in local households and businesses, and could have been purchased from the local Nestle factory.Round tall clear glass jar with a wide mouth, short neck and straight sides on a cylindrical body. The jar has been blow-moulded in two pieces with a side seam running from the base to the top of the lip. There are air bubbles in the glass, and the base has been ground flat. The outside of the mouth is threaded. Inscriptions are moulded on one side and there is a round logo with text around an image of a mother bird with three young birds in a nest. The jar once contained Nestles Malted Milk and was made in Australia around the 1920s. The jar is part of the W.R. Angus Collection.Inscription: “PREPARED / IN AUSTRALIA” and “TRADE MARK / REGISTERED” Logo; “NESTLES MALTED MILK” around image [bird feeding young in next]flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, nestle, malted milk, glass jar, nestle jar, nestle malted milk, dennington, nestle australia, w.r. angus collection

This crate of bottles may have come from a wholesaler, business, stationer or school. The design of the bottles is sometimes called a ‘cottage’ or ‘boat’ shape. Each of the 70 Caldwell’s handmade glass ink bottles was mouth-blown into a two-piece mould, a method often used in the mid-to-late 19th century. The glass blower burst the bottle off the end of his blowpipe with a tool, leaving an uneven mouth and sharp edge on the bottle, which was usually filed. The bottle was then filled with ink and sealed with a cork. More expensive bottles would have a lip added, which was more time-consuming and costly to produce. The capacity for a bottle such as this was about 3 ½ oz (ounces) equal to about 100 ml. 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. The nis 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 large collection of similar ink bottles is of particular significance as the bottles have come from the same source, most have their original corks and some retain their original labels, which is rare. The method of manufacture of these bottles is also representative of a 19th-century handcraft industry that is now been largely replaced by mass production. The bottles and their contents are of state significance for being produced by an early Melbourne industry and exported overseas. This case of ink bottles 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 bottles in a wooden crate; 70 rectangular, hand-blown clear glass ink bottles. They have side seams, uneven thickness, especially at the bases, and rough, burst-off mouths. The shoulders on the long sides have horizontal grooves used for pen rests. The bottles vary; some have labels, some contain remnants of blue-black ink, and many have their original corks. The glass has bubbles and imperfections. The remnants of printed labels are on white paper with a swirly border and black text. The bottles contained Caldwell’s blend of blue black ‘Flo-Eesi’ ink.Printed on label; “CALDWELL FLO-EESI BLUE BLACK INK” “ - - - - “ Printed script signature “F.R. Caldwell”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, flo-eesi, blue black ink, stationery, record keeping, handwriting, writing equipment, writing accessory, office supply, cottage bottle, boat bottle, mouth-blown bottle, two-part mould, sheer-lip bottle, burst-lip, cork seal, f r caldwell, caldwell’s ink company, albert park, south melbourne, inkstands, stencil ink, copy ink, quicksticker, zac cough mixture

Edwardian black lace long skirt. Four layers. Top layer of black lace in three panels. Top and bottom panels gathered centre panel flat seamed scalloped hem line. Second and third layers of black net with cut edges. Fourth layer of black satin. Skirt gathered onto 7cm waistband of black shantung. Thirty three cm split from waist at the back. Back fastening at waist overlapping with three hooks and eyes and two press studs. Purchased at an antiques store in Camberwell in 1970's. No provenance. Machine made.costume, female evening, black lace and satin skirt

Cream coloured satin bodice with cotton lining. Deep V shape at waist front and back. Front opening has twelve cream coloured bowl shaped buttons with bound button holes. Two centimetre stand up collar.Front has two vertical darts on either side of opening - one on each side has plastic stiffening insert.Two inserts at back. One stiffening insert in RHS. Long sleeves have split on upper edge at hem. Sleeves have trim of gathered fabric attached above wrist. Black cotton stitches visible on both sleeve seams.costume, female, bodice

Black cotton with all-over gold paisley type floral patterning. Fully lined with brown cotton fabric. A slight train at the back hemline, and two V shaped flaps-one either side of the back opening, which probably accommodated bussell-like padding. The skirt is tightly gathered at the back to facilitate the padding. Front of skirt is flat, with a little easing of gathers. Pocket inside right hand side seam. A dark brown corded piping edges the hemline. Two metal hooks and eyes, fasten the waistband. Relocated to Clothing Box 176 10.2.2022costume, female, long black and gold patterned skirt

Three panels-one either side of front opening, and one rounded panel from side fronts, and across back. Two triangular panels - 10 cm X 4 cm at front lower edge of back circular panel. Front panels are longer than sides of back panels. All front and lower edges are finished with a 5 cm long, silver coloured, silk fringe. A 1.5 cm wide band of striped silk binds the neckline, nut is in very poor condition. Back panel of cape is gathered by hand, extending from front panel seams.costume, female, gold silk victorian bodice

The wedding gown was worn by Lucy Kneeshaw Prout for her marriage to John Sommers on 29th November, 1871 at Trinity Church of England and Ireland, Williamstown, Victoria. Lucy was born in Woolwich, Kent, England in August 1850 and immigrated to Australia with her family in 1852 on the 'SS Coromandel'. She was the youngest of five children. Their parents were Edward and Elizabeth Prout (nee Hall). Lucy died in 1940 - 90 years of age. John E. Sommers was born in Glasgow, Scotland in 1846 and emigrated to Australia with his family in June 1853 on the 'Tongataboo'. His marriage certificate shows that he was an engineer. He studied at the National Gallery's School of Design under both Clark and Campbell from 1872 to 1879. He drew a compressed charcoal and pencil portrait of Fred McCubbin in 1876. The portrait was displayed in the Golden Summers exhibition at the National Gallery of Victoria in 1985 and is shown on page 40 of the Golden Summers catalogue. Their grand-daughter, Mrs Marjorie Gibson (born 1910) said he was associated with the Heidelberg School and the Box Hill Artists Camp. He is also noted in the 'Book of Australian Artists'. He exhibited prolifically with the Victorian Artists Society until his resignation in 1898. In 1881 John Sommers took employment with the Education Department at Castlemaine (Ref. Golden Summer catalogue - pages 26 and 40). John died in 1930 aged 84 years. John and Lucy Sommers children John and Dora both studied at the National Gallery of Victoria, so senior was added to John E. Sommers Senior's works. There is a short biography on page 26 of Golden Summers. Researched by Valda and Ted Arrowsmith May 2006.One piece old gold Paper Taffeta wedding gown, stand up collar, piped in green taffeta. Forty covered buttons from neck to hemline. Shaped sleeve with 15cm cuff and three buttons. Two rows of seven cm appliqued green and gold shaped fans along hemline. Two rows of green and gold piping and 8cm deep gold fringe. Back of dress has central panel of pleats and six covered buttons and a square cut hem line for the train at back. Dress bodice is lined and has two 7cm bones in side seam.costume, female ceremonial

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased these 1890s shoes around 1990 and recalled wearing them to approximately three events before she donated them to BHS in 2019. Di enjoyed the novelty and conversation they would inspire due to their unusual appearance by modern standards. The shoes are indicative of Di's playful approach to clothing and life. The decorative preserved mink pelt with head featured on the vamps of these shoes is typical of Victorian era interest in and prevalent use of preserved animals for decorative purposes in clothing, millinery and household adornment. This fashion reflected social positioning of oneself as being affluent, educated and worldly. Following the death of Queen Victoria's husband Prince Albert in 1861, the Queen's approach to mourning his death influenced social conventions for the public, with the wearing of black becoming a significant aspect of Victorian fashions. The shoes were made by Kendal Milne & Co, a large department store on Deansgate, Manchester. It has traded under various names and owners since it opened in 1832; it traded as Kendal Milne & Co from 1862-1919, and continued to be known by this name for many years after. The store is currently owned by the House of Fraser department store chain and is known as House of Fraser Manchester.Black silk linear quilted uppers of single piece construction with feature centre front vamp seam. Horsehair wadding can be seen along the side of the forefoot where the upper is coming away from the leather soles. Approx 4.5 cm plain black silk covered heel with leather top piece missing from right shoe. Both shoes feature the head of a small preserved mink with glass eyes. The toppling of the vamp features a decorative strip of mink fur. Inside of both shoes is a gold printed manufacturers label on the black silk insole.Manufacturers label - Made expressly for Kendall Milne and Co, Manchester.victoriana, mink pelt, taxidermy, 1890s, fur, di reidie, vintage clothing

Electrical telegraphs were point to point text messaging systems primarily used from the 1840's until the late 20th century. It was the first electrical telecommunications system and were sent by an operator or telegrapher using Morse code. Social telegrams were also encouraged and special pictorial forms and envelopes were designed such as the special purple form and envelope which was used when conveying condolence details during World War 2.(fn. Powerhouse https://collection.powerhouse.com.au/object/163103). There was a brief resurgence in telegraphy during World War I but the decline continued as the world entered the Great Depression years of the 1930s.  Although telegraph lines continued to play an important part in distributing news feeds from news agencies post World War 2, the rise of the internet in the 1990s and the widespread installation of the telephones in homes saw the need for telegrams to greatly decline. When the Commonwealth Post and Telegraph Act was passed in June 1902, and a national Postmaster General's Department (the PMG) was established the responsibility for the nation's mail and telephone services fell on Post Offices. The Bendigo Post Office, built in 1887 and situated on Pall Mall was the central distribution centre for receiving and delivering telegrams and continued to deliver communication and postal services until 1997. Now a Visitor Centre, dedicated volunteers at the Post Office continued to demonstrate and educate the public about telegraphic services and the development of this unique form of communication up until 2019 when Covid 19 disrupted every day life, coupled with the death Ted Rankins (the last Post Master and a long term telegraph volunteer at the Post Office). This satchel was used by Junior Postal Workers in Bendigo to carry telegrams which were delivered by bicycle in the early years. Small, rectangle, leather satchel with attached shoulder strap and buckle. Satchel is made of five pieces of leather: two side pieces, one piece which is folded to create the front, bottom, back and flap and two small pieces to hold strap ring. The flap has a single hole through which a metal toggle is inserted to secure the flap closed. Satchel has four metal tabs to secure the top front to the top sides and an internal pocket on inside. The leather strap is attached to the top of the side seams of the satchel with circular metal rings and two metal press studs. Inside flap: Sticker with '540B'bendigo post office, bendigo tourism, city of greater bendigo tourism, making a nation exhibition, post office collection

This medicine glass was previously owned by Sybilla Margaret Kucks (1904-1978), daughter of Henry and Julia Kucks, and granddaughter of William and Sibilia Kucks. Sibilla was born in Warrnambool and lived there until 1917 when she moved to Armadale, Victoria, with her family. The medicine glass was among her effects left to her nephew William when she passed away and has been looked after by his wife Eva and treasured as a memento of their Warrnambool heritage. Mrs Sibilla Kucks sold sweets and fancy cakes in her Liebig Street shop from 1873 until the 1880s. She operated one of Warrnambool’s earliest dedicated confectionery shops at a time when sweets were more commonly found in a fruiterer’s shop. Her window display would have been full of brightly coloured sweets in shiny glass jars tempting passers-by. Sibilla (née Leyendecker) married Johann Wilhelm Kucks in New York, USA in 1856. Both were originally from Prussia. They sailed to Australia on the Ocean Rover and arrived in Melbourne June 10th, 1858. Seventeen days later their second child, William Jnr., was born. Warrnambool’s population was around 2,000 in 1859 when Sibilla and Johann (known as “William”) settled here. William was employed as a tailor by Cramond & Dickson. In 1859 the couple bought George Fergusson’s bakery in Timor Street and opened it as “W. Kucks Baker”. Along with fancy breads and biscuits, he advertised baked dinners to order. William supplied bread to the Warrnambool Hospital until the 1880s. In 1873 William built a row of four shops at 140-146 Liebig Street, one of which became Sibilla’s confectionery shop, and another was the new home to W. Kucks Baker. In 1877 William constructed a building in Liebig Street for the Warrnambool Steam Packet Company, which has since been incorporated into the Warrnambool Art Gallery. Its western wall shows to older construction and design. William and Sibilla had five other children. By 1896 their sons William Jnr. and Henry operated the business as “Messrs Kucks Bros., Bakers & Confectioners”. They employed six staff and used three carts for deliveries over a thirty-mile radius. They catered for clubs and functions including the Exhibitors’ Picnic Luncheon for the Warrnambool Industrial and Arts Exhibition (1896-7). In 1907 Messrs Kucks Bros. baked a monster Pyramid Cake for a local bazaar. It contained coins of various sizes and weighed 84lbs (38kg). Everyone buying a slice hoped to be lucky enough to end up with a coin! William Kucks Jnr. also became licensee of Terang’s ”Wheatsheaf Hotel”, its name and logo connecting it to the family’s bakery in Warrnambool. William (1825-1911) and Sibilla (1833-1910) Kucks and three of their seven children are buried at the Warrnambool Cemetery in a family grave. John Sambell migrated from England and established his chemist and dentist business in Warrnambool around 1890 in his premises in Fairy Street. The business later included his son Herbert. The maker, Whitall Tatum & Co, is clearly marked on the base of the bottle. The company was a a well known maker of prescription bottles. He used the brand "W. T. & Co. from Mid-1870's until the late 1880's, moulded into his glassware. This medicine glass is significant as one of very few remaining items from the history of John Sambell, chemist and dentist, Warrnambool. It is also significant as an example of medical equipment that has a design still used today. It is also significant for its association with William and Sibilla Kucks, a colonial family in Warrnambool that was greatly involved in the community and commerce of early days in Warrnambool.Medicine glass, (measuring glass or dose cup), clear glass, round. The antique chemist measuring glass is wide at the top and tapers to a narrow base. The glass has side seams and an uneven base. The glass has imperfections ans bubbles. The base is uneven. The measuring scale lines have been scored into the glass and the measurements and other inscriptions have been moulded into the glass. Glass is from J. Sambell, chemist and dentist in Warrnambool. On the back there is a measuring scale in tablespoons and teaspoons. There is also an inscription of the maker on the base. The glass was made in the late 1880's by Whitall Tatum & Co., America.Embossed within a round border "J. SAMBELL / CHEMIST / AND / DENTIST / WARRNAMBOOL" The scale on the back has "TABLE" "1" and "2", and "TEA" "8", "4", "2" and "1" The base has "W.T. & CO." around the edge.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, medicine glass, measuring glass, dose cup, medicine dispensing, medicine measurement, sambell pharmacy warrnambool, sambell chemist and dentist, warrnambool chemist, history of warrnambool, early 20th century chemist, john sambell, medical equipment, warrnambool medical services, kucks family in warrnambool, william and sibilla kucks descendant, mrs kucks' confectionery, william kucks baker, warrnambool dentist, herbert sambell, whitall tatum & co, w. t. & co., warrnambool steam packet, warrnambool art gallery

The Manifolds were a significant pioneering pastoral family in Western Victoria. The donated riding jacket originally belonged to Mrs Edward Manifold, formally Beatrice Mary Synnot Anderson. Beatrice was Edward Manifold’s cousin once removed whom he married in 1900. Edward, the son of John Manifold, was born on 15 November 1868 and educated at Geelong and Melbourne Grammar schools and at Trinity Hall, Cambridge (B.A., 1891). He chose the Danedite portion of land at Purrumbete, and on the death of his bachelor brother Thomas Peter (1863-1895), after a hunting accident, he took over his allocation, Wiridgil. He also owned Boortkoi, near Hexham and on these properties, he ran merino sheep, a Lincoln stud which dated back to 1870, and Shorthorn cattle. 3000 acres were also leased to dairy farmers. Edward was a member of Hampden Shire Council in 1909-31 and three times president at Camperdown. The town was largely bordered by Manifold land and partly dependent upon the local pastoral dynasties, which benefited the local area from the families’ various business interests. Though an offer to build public baths to commemorate the Queen Victoria Jubilee in 1897 was not proceeded with, the town acquired a hospital, a reserve on Mount Leura, a clock tower and a cricket pavilion, as well as notable donations from the Manifolds to St Paul's Church and the grammar school. Edward was a keen polo player and racing man. He was also a successful owner of steeplechasers and a committeeman of the Victoria Racing Club for many years. He was also a member of many Western District racing clubs. On the 16 July 1900, Edward had married his sixteen-year-old cousin Beatrice Mary Synnot Anderson by whom he had three sons Thomas Peter, Andrew and Robert Edward Manifold. Edwards's estate at his death was valued for probate at nearly £500,000. Edward died following an operation on 14 February 1931 at a private hospital in Yarra Vale Melbourne. Beatrice passed away in 1954, aged 79 in Ballarat where she was born in 1874. Contextual historic Family background: The Manifold brothers Thomas (1809-1875), John (1811-1877) and Peter (1817-1885) were the fourth, fifth and sixth sons of William Manifold and Mary, nee Barnes, of Courthouse Farm, Bromborough, Cheshire, England. The family had decided to emigrate to Van Diemen's Land. Thomas was sent ahead, arriving in Hobart Town on 23rd January 1828 with £1500 and a letter of recommendation from the Colonial Office. Thomas acquired 1280 acres on the west bank of the Tamar River. John and Peter, with their parents and three sisters, arrived on 8th July 1831. Land grants by then had finished but William brought ninety acres next to his son Thomas’ land and on the combined properties the family built Kelso House. The Manifolds’ properties were comparatively poor and when news of the Port Phillip District, in Victoria reached Thomas, he lost no time in coming to see for himself in February 1836. He was impressed with what he saw and hurried back to Tasmania to buy lambs and ewes. With one of his brothers, on July 9th he landed his stores at Point Henry and proceeded to occupy both sides of the Moorabool River. Thomas, at the end of the year, returned to Tasmania and left Peter and John to run the new property. Thomas, however, returned to Victoria for several visits and on one of these visits he, along with his brothers, examined the country near Ballarat. In December 1838 they managed to penetrate the Stony Rises, and Peter and John reached Lake Purrumbete and the Mount Leura country. During this time, on 4th July 1838, Thomas married Jane Elizabeth, eldest daughter of Captain Walter Synnot, formerly of Ballinate, County Armagh, Ireland, and then of Van Diemen's Land. Thomas joined his brothers, and they occupied the Purrumbete run in January 1839. On the journey to Purrumbete they could not take their stock and drays through the Stony Rises, so went north of Lake Corangamite, to the neck of land between it and Lake Gnarpurt. By April the move from Moorabool area was complete. As yet they had no hut and were working day and night, but their delight in their new run was unbounded. John wrote to his mother: “We are at last got to the land we wished for it is a beautiful place, and cannot be surpassed by any I have ever seen”. The three brothers occupied Purrumbete together, breeding both sheep and cattle until Thomas went to Grassmere run on the Merri River near Warrnambool in 1844. John and Peter soon gave up breeding sheep but retained the well-known '3M' brand for the cattle. These were Shorthorns, derived from four bulls originally imported by the Boldon brothers and later improved by further importations, and were renowned for size and quality. By the time of the gold rush in 1851, John and Peter were breeding over 1000 head a year, as well as fattening stores. The diggings at this time had disorganised Grassmere by drawing away Thomas's men, and his wife decided to take her two sons and two daughters to Europe for their education. Thomas gave up the property next year, went to England to join his family, and eventually brought the family back to live in Melbourne. At Purrumbete things were different. The brothers, John and Peter, preferred black stockmen to white, so the discovery of gold upset them very little while providing the very market they required. John was on his second visit to England when the rush started, and Peter went in his turn soon after John returned. On 2 September 1856 John married Marion Thomson, at Cormiston, Van Diemen's Land. They had four daughters and five sons, from three of whom, William Thomson, James Chester and Edward, the later generations of the family descend. Through the years the brothers had to contend with the scab, fluke and footrot, depression, rabbits, bush fires and pleuro-pneumonia. In 1861 they appointed as manager Henry Manifold Matson, their nephew, who had already been with them for five years. Thomas died in Melbourne on 7 November 1875, John at Purrumbete on 3 January 1877 and Peter at Purrumbete on 31 July 1885. Devout members of the Church of England, John and Peter, during their lives, gave generously towards building St Paul's Church, Camperdown, and guaranteed part of the vicar's stipend. Peter was a member of the Hampden and Heytesbury Roads Board from 1859 and carried on into the Hampden Shire Council when it was formed in 1864. However, it was not for public works that they were known, but for their personal example. In a new land where speculators and adventurers were all too common, the Manifold brothers were among those who intended it to be their home and their children's home. Industrious, unpretentious and hospitable, they were respected in their community as men of the highest integrity. This riding habit is a characteristic example of the type and style of riding clothes that well-dressed ladies wore in the 1920s. It highlights the changes that were beginning in society for women. Prior to 1918 ladies still had to ride side-saddle with skirts over Jodhpurs. Society of the time regarded women riding astride as unseemly and just not done. This riding habit is particularly significant on a number of levels, it shows the beginnings of change in society's attitudes through women's fashion after the First World War. A change that was to bring a start to a more liberating societal attitude towards women after the successful establishment of the Representation of People Act 1918 that gave women the right to vote. This garments provenance is linked to one of Victoria's important pioneering families the Manifolds, one of the first families that came from Van Diemen's land to settle the Western District of Victoria in 1844. Originally the garment belonged to the wife of the great-grandson of pioneer William Manifold, Edward Manifold who married Beatrice May Synnot Anderson, Edwards Cousin in 1900. The garment was made by the Mayfair tailors J. Busvine & Co. in the early to mid-1920s (estimate) who at the turn of the century were tailors to the Courts of Europe. Their clothing is highly collectible today and examples can be found in a number of significant museum collections around the world, notably the Metropolitan Museum of Art in New York and the FIDM in Los Angeles. A riding jacket, part of a three-piece, side saddle riding habit tailored for Mrs Edward Manifold. Knee length English woolen jacket black in colour, seamed and fitted to the female client's figure, fastening from the waist with three bone buttons to rather high lapels. The sleeves are long with closely fitted cuffs and one button and lined with cream satin. The jacket is fitted to the waist and flared to below the hips with a 35 cm vent to the back. Lower back to the jacket is reinforced with removable fabric and the jacket is lined with black twill cotton, there is a cream satin label, with makers' emblem Busvine. Circa 1920s Label to Jacket Embroidered in gold with a Royal logo on a Cream Satin label “By Special /Appointment” “To Her Majesty/The Queen”, “Busvine / Ltd / London 4 Brook St. W. / No” “hand written in purple ink 315 / Mrs Edward Manifold”flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, side saddle riding habit, mrs edward manifold, edward manifold, busvines, shipwreck coast, flagstaff hill maritime village, great ocean road

The toy soldier is a relic from the shipwreck of the LOCH ARD in 1878. It has a companion piece in the Flagstaff Hill collection. The toy soldier is unpainted, but the style of uniform, and the weapons carried (a musket and a basket-handled cutlass), indicate it is a representation of the Napoleonic Wars period from the beginning of the nineteenth century. Mass-produced toy soldiers made of cast metal (lead or tin) became popular during the 1800s. Heyde of Germany manufactured silhouette-shaped flat toy soldiers early in the century. Mignot of France released three-dimensional solid figures and later around 1893 W. Britain, a toy company became known for its die-cast lead toy soldiers. These innovations were designed to make sets of toy soldiers more affordable for middle and lower-class children, extending the market beyond the intricately made and hand-crafted replicas that were the preserve of the rich in the eighteenth century. Wooden military figures, specially carved and unpainted ones, were therefore not particularly common at the time when the Loch Ard foundered on Victoria’s southwest coast. Mignot was the first to sell unpainted soldiers, leaving their customers to fill in the colours according to their own patriotic preferences. It is, therefore, possible the two figures in the Flagstaff Hill collection were part of a new set intended for sale, rather than part of a passenger’s existing collection. Loch Ard History: The Loch Ard got its name from ”Loch Ard” a loch that lies to the west of Aberfoyle, and the east of Loch Lomond. It means "high lake" in Scottish Gaelic. The vessel belonged to the famous Loch Line which sailed many vessels from England to Australia. The Loch Ard was built in Glasgow by Barclay, Curle & Co. in 1873, the vessel was a three-masted square-rigged iron sailing ship that measured 79.87 meters in length, 11.58 m in width, and 7 m in depth with a gross tonnage of 1693 tons with a mainmast that measured a massive 45.7 m in height. Loch Ard made 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 29-year-old Captain Gibbs, who was newly married. The ship 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, as well as a heavier load of railway irons, cement, lead and copper. There were other items included that were intended for display in the Melbourne International Exhibition of 1880. The voyage to Port Phillip was long but uneventful. Then at 3 am on June 1, 1878, Captain Gibbs was expecting to see land. But the Loch Ard was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4 am the fog lifted and a lookout aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head-on into the wind, the ship lost momentum, the sails fell limp and Loch Ard's bow swung back towards land. Gibbs then ordered the anchors to be released in an attempt to hold their position. The anchors sank some 50 fathoms - but did not hold. By this time the ship was among the breakers and the tall cliffs of Mutton Bird Island rose behind. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves subsequently broke over the ship and the top deck became loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of Loch Ard and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as Lochard Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael a passenger had raced onto the deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke the open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a complete state of exhaustion, he told the men of the tragedy. Tom then returned to the gorge while the two men rode back to the station to get help. By the time they reached Loch Ard Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost her family in the tragedy. Ten days after the Lochard tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of Lochard still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some items were washed up into Lochard Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced in March 1982. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton majolica peacock- one of only nine in the world. The peacock was destined for the Melbourne 1880 International Exhibition. It had been well packed, which gave it adequate protection during the violent storm. Today the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck, it has now become Australia's most valuable shipwreck artifact and is one of very few 'objects' on the Victorian State Heritage Register.The toy soldier represents a 19th-century child's interest in military history. The item is one of two toy soldiers recovered from the Loch Ard in Flagstaff Hill's collection. 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 accumulations of artefacts from this notable Victorian shipwreck of which the subject items are a small part. The collections of 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, allowing us to interpret Victoria's social and historical themes. Through is associated with the worst and best-known shipwreck in Victoria's history.An unpainted, cream-coloured toy soldier, recovered from the Loch Ard. The figure wears a Napoleonic Wars-era uniform, a plumed helmet, a short jacket with tails, bib-front trousers with button closure, straps crossed at the front and back, and epaulettes. The figure is in marching posture with one foot extended forward, and is bearing a musket at the slope-arms position, with a sabre or cutlass slung behind. It is unable to stand on its own. There are reddish-brown and orange-brown stains on the head and body. The body has seams along both sides that are uneven at the lower leg. There is a hole in the back and the inside is hollow. The material has a rough texture.flagstaff hill, warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch ard, toy soldier, napoleonic uniforms, military toy, moulded soldier

The slim, green-tinged clear glass condiment bottle was possibly used for storing and serving sauce or salad oil. The handmade bottle would have had an applied lip. It has hand blown into a two-piece mould that finished just below the neck ring, with the rest of the neck and mouth hand blown. It was recovered from the wreck of the Schomberg. ABOUT THE SCHOMBERG (October 6 to December 27, 1855)- When the ship Schomberg was launched in 1855, she was considered the most perfect clipper ship ever to be built. James Baine’s Black Ball Line had commissioned her for their fleet of passenger liners. The Aberdeen builders designed her to sail faster than the clippers designed the three-masted wooden clipper ship to be fast. The timber used for the diagonal planking was British oak with layers of Scottish larch. This luxury emigrant vessel was designed for superior comfort. She had ventilation ducts to provide air to the lower decks and a dining saloon, smoking room, library and bathrooms for the first-class passengers. The master for Schomberg’s maiden voyage was Captain ‘Bully’ Forbes. He drunkenly predicted at her launch that he would make the journey between Liverpool and Melbourne in 60 days. Schomberg departed Liverpool on 6 October 1855 with 430 passengers and 3000 tons of cargo including iron rails and equipment intended the build the Geelong Railway and a bridge over the Yarra from Melbourne to Hawthorn. The poor winds slowed Schomberg’s sail across the equator. She was 78 days out of Liverpool when she ran aground on a sand spit near Peterborough, Victoria, on 27 December; the sand spit and currents were not marked on Forbes’s map. The ship’s Chief Officer spotted the coastal steamer SS Queen at dawn and sent a signal. The master of the SS Queen approached the stranded vessel and all of Schomberg’s passengers safely disembarked. In 1975, 120 years after the Schomberg was wrecked, divers from Flagstaff Hill found an ornate communion set at the wreck site along with many other artefacts. In 1978 a diamond ring was discovered under the concretion in the lid of the communion set, which is currently on display. Former Director of Flagstaff Hill, Peter Ronald, had salvaged most of the artefacts from the wreck. This bottle is significant as an example of an item in common use in the mid-19th century. The Schomberg collection as a whole is of historical and archaeological significance at a State level. Flagstaff Hill’s collection of artefacts from the Schomberg is also significant for its association with the Victorian Heritage Registered shipwreck (VHR S 612). The collection is of prime significance because of the relationship between the objects salvaged, as together they help us to interpret the story of the Schomberg. The collection as a whole is historically significant for representing aspects of Victoria's maritime history and its potential to interpret social and historical themes.Bottle; slim, round, clear, slightly green-tinged, glass condiment bottle, possibly for salad oil or sauce. Handmade bottle with a broken and missing lip and base. The neck is straight and plain down to a high horizontal neck ring. The neck then flares outward towards the shoulder with a vertical ribbed design, finished with a scalloped border on the top of the body. The body has straight sides. Side seams run from below the neck ring to the heel. The glass has imperfections, bubbles and an uneven surface. There is brown sediment on its shoulder. A long white plug is in the narrow part of the neck. The bottle was recovered from the wreck of the Schomberg.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, 19th century bottle, collectable, bottle, two piece mould, food bottle, oil bottle, salad oil bottle, sauce bottle, condiments bottle, neck ring, ribbed sides

Cream coloured silk wedding dress with train. Three flat panels at front and side, lined with polished cotton. Centre tightly gathered panel at centre back lined with stiffened cotton.Other panels lined with stiffened cotton above hemline of skirt. Double layer lace insert inside lower edge to hemline. Back opening with four hook and eye fasteners. Deep pocket on side seam at hip on RHS. Three back panels extended below hemline of skirt to form squared edge train. Two hanging tapes inside waist band. Skirt hand and machine stitched. Matching bodice 11400.314.Label stitched inside skirt waistband - ''F.Davey & Co Dress & Mantle makers, View Point, Sandhurst.costume, female, wedding dress skirt

Royal blue rayon long sleeved coat to wear with 11400.524. Fully lined with blue rayon lining, ¾ length set in sleeves with 10cm fold back (fully lined) cuffs. Front opening with no fastening or crossover. Fold back shawl collar. Front darts running from centre shoulder – 24cm vertically Internal pocket of lining fabric. Pockets on either side at hip level. Angled 15 degrees away from side seam with a band along opening edge – 16 cm. Back made from one piece. A line shape. Slightly flared at hem. Machine stitched. Part of ensemble with 11400.524.Created by ZANKO of Melbournecostume, female daywear, coat

Clothing. Women's black lace and satin layered skirt. Straight calf length skirt with outer layer of embroidered fine net and an inner layer of black satin. Embroidered layer has pattern of scattered flowers with lower 30 cm of dense embroidered flowers. At centre front is a vertical strip of embroidered flowers (5 cm wide). Hemline has a zig zag pattern. Foldover satin waist band (1.5 cm) with two X .8 cm satin loops attached at front and back. Side seam below waistband has 24 cm opening but there is no opening in the waist band.costume, female, women's black lace and satin skirt